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Letteratura scientifica selezionata sul tema "Humanities -> music -> business aspects"

Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "Humanities -> music -> business aspects"

Ramesh, S. "Bridging Commerce and Management with Humanities, Music, and Dance: A Holistic Approach to Organizational Success". Journal of Humanities,Music and Dance, n. 24 (28 luglio 2022): 26–31. http://dx.doi.org/10.55529/jhmd.24.26.31.

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This article explores the symbiotic relationship between commerce and management disciplines with the realms of humanities, music, and dance. It delves into the potential benefits of integrating artistic and humanistic perspectives into business practices, aiming for a more holistic and inclusive approach to organizational success. The study employs a qualitative research methodology, combining literature review, case studies, and expert interviews to provide insights into the impacts of this interdisciplinary fusion on various aspects of business.

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Numerato, Dino, e Richard Giulianotti. "Citizen, consumer, citimer: The interplay of market and political identities within contemporary football fan cultures". Journal of Consumer Culture 18, n. 2 (5 dicembre 2017): 336–55. http://dx.doi.org/10.1177/1469540517744692.

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This article examines how football, sport and other cultural fields are characterized by complex interrelations between ‘citizen’ and ‘consumer’ identities. Our analysis centres specifically on critically examining and developing the concept of ‘citimer’ (citizen-consumer) with respect to activist supporter groups within European professional men’s football. First, to establish the structural and cultural context for our analysis, we argue that the emergence of citizen-consumer identities in football has been driven by five underlying processes: globalization, commodification, securitization, mediatization and postmodernization. Critical football fan movements have responded to these changes through greater reflexivization and politicization. Second, drawing on the broad academic literature, we develop the concept of the citizen-consumer (or ‘citimer’) and introduce its relevance to football. Third, to provide a more nuanced understanding of the citizen-consumer, we explore how this ‘citimer’ identity is constructed in two ways: ‘from below’ (by fan groups themselves at everyday level) and ‘from above’ (by clubs, governing bodies, media and other powerful forces within the football system). In both instances, we find that the citizen and consumer aspects of the citimer identity are interrelated in complex ways. Fourth, we conclude by highlighting the political reflexivity of citimers and areas for future research. Our analysis draws on extensive data collection: with football supporters and officials in the Czech Republic, England and Italy and at the wider European level, and through access to diverse primary and secondary documents (e.g. policy papers, fanzines and online forums). Our findings may be applied to examine citimer identities, practices and social relations not just within football and sport but in many other cultural fields, such as art, communication, drama, fashion, film and music.

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Ramesh, S. "Beyond Balance Sheets: Integrating Humanities, Music, and Dance Into Business Strategy". Journal of Humanities,Music and Dance, n. 12 (30 ottobre 2021): 5–9. http://dx.doi.org/10.55529/jhmd.12.5.9.

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"Beyond Balance Sheets: Integrating Humanities, Music, and Dance into Business Strategy" explores the transformative potential of incorporating artistic disciplines into traditional business strategies. The article delves into how the humanities offer valuable insights into human behavior, music serves as a universal language for communication, and dance provides a metaphor for effective teamwork. By weaving these elements into business strategy, organizations can foster creativity, innovation, and a more profound connection with both internal teams and external stakeholders.

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Conner, Thomas, e Steve Jones. "Art to Commerce: The Trajectory of Popular Music Criticism". IASPM Journal 4, n. 2 (31 dicembre 2014): 7–23. http://dx.doi.org/10.5429/ij.v4i2.671.

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This article reports the results of a content and textual analysis of popular music criticism from the 1960s to the 2000s to discern the extent to which criticism has shifted focus from matters of music to matters of business. In part, we believe such a shift to be due likely to increased awareness among journalists and fans of the industrial nature of popular music production, distribution and consumption, and to the disruption of the music industry that began in the late 1990s with the widespread use of the Internet for file sharing. Searching and sorting the Rock’s Backpages database of over 22,000 pieces of music journalism for keywords associated with the business, economics and commercial aspects of popular music, we found several periods during which popular music criticism’s focus on business-related concerns seemed to have increased. The article discusses possible reasons for the increases as well as methods for analyzing a large corpus of popular music criticism texts.

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SCANNELL, PADDY. "Music, radio and the record business in Zimbabwe today". Popular Music 20, n. 1 (gennaio 2001): 13–27. http://dx.doi.org/10.1017/s0261143001001283.

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Radio and the recording business have, since the beginning of the last century, had a profound impact upon existing musical life whenever and wherever they have decisively and irreversibly established themselves. Their arrival restructures and redefines the social relations of music in many aspects of its production, performance and reception. Radio and recording technologies have had a significant impact on the livelihoods of all those who one way or another try to make a living from music (composers, performers and - in Europe - publishers, for instance). Performance itself is transformed as new norms are set in place which call for new levels of technique and interpretation. Finally the conditions of musical reception are reconfigured and new `taste publics' emerge, potentially in conflict with each other, as musical life is totalised into a new and complex unity.

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Lyu, Zhuoheng, Zhenghong Nie e Yuhan Xie. "QQ Music Business Model Competitiveness Analysis: Social Economy Perspective". Highlights in Business, Economics and Management 11 (9 maggio 2023): 100–107. http://dx.doi.org/10.54097/hbem.v11i.7952.

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The social economy has played a significant role in the development of QQ Music. To explore the impact of the social economy on QQ Music’s business model, this paper analyses two aspects: first, the type of community and the community demand existed in the platform of QQ Music; second, the procession embodied in QQ Music’s business model to commercialize communities. The study shows that the competitiveness of QQ Music’s business model lies in its platform set-up and user-paid service set-up. The user community sorting mechanism helps QQ Music users find the right community that suits them and fulfills their community needs. The “highly personalized service” and “highly enriched payment scenarios” reflected in the user payment settings can help users achieve an excessive amount of community demand, stimulating user consumption.

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Ruud, Even. "Aspects of a Theory of Music Therapy". Nordic Journal of Music Therapy 15, n. 2 (gennaio 2006): 172–76. http://dx.doi.org/10.1080/08098130609478163.

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Ramesh, S. "Harmony in Commerce and Humanities: Exploring the Symbiosis of Business and the Arts". Journal of Humanities,Music and Dance, n. 23 (14 maggio 2022): 8–12. http://dx.doi.org/10.55529/jhmd.23.8.12.

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This article explores the symbiotic relationship between commerce and the arts, specifically delving into the integration of humanities, music, and dance into business and management practices. Recognizing the transformative impact of a multidisciplinary approach, the article discusses how the human touch of humanities, the inspirational power of music, and the metaphorical insights from dance contribute to innovative and successful business strategies. Through case studies, the article highlights companies that have embraced this symbiosis, showcasing the tangible benefits of fostering a holistic connection between commerce and the arts. Ultimately, the article underscores the importance of acknowledging and integrating the creative and human elements in the ever-evolving business landscape.

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Pizzi, Meredith Roman. "Expanding a Music Therapy Business Using AMTA’s Aspirational Code of Ethics". Music Therapy Perspectives 38, n. 1 (2020): 34–37. http://dx.doi.org/10.1093/mtp/miaa001.

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Abstract While all music therapists look to the Code of Ethics as a guiding document, music therapists who are self-employed or managing teams rely heavily on this document to create sound business and administrative policies. This article articulates how the 2019 Code of Ethics informs the music therapy entrepreneur or manager to make thoughtful, accountable, and ethical decisions, decreases confusion about specific business practices, and addresses significant concerns related to aspects of the previous AMTA Code of Ethics that were in conflict with federal anti-trust regulations in the United States, including the Sherman Anti-Trust Law. To address the legal and ethical issues inherent in expanding a service business, a discussion guided by the 2019 Code of Ethics and the Markkula Center for Applied Ethics (2009) model is provided as a way to think through potential ethical dilemmas when considering subcontracting music therapy services.

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Sadler, D. "The Global Music Business as an Information Industry: Reinterpreting Economies of Culture". Environment and Planning A: Economy and Space 29, n. 11 (novembre 1997): 1919–36. http://dx.doi.org/10.1068/a291919.

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In this paper it is argued that the music business should be regarded as an activity trading in information. The paper begins with a review of key themes in the conceptualisation of the music industry within the cultural economies tradition. These are the tensions between creativity and commerce and between global and local processes, and the characterisation of the industry in the terms of the flexible specialisation and reflexive accumulation theses. It is then suggested that these debates have downplayed a key characteristic of the contemporary music industry, its involvement with the creation, production, and distribution of information. The emergence of a global music business over the past decade is documented and analysed by means of this framework. Subsequently, two aspects of the integration processes taking place in the music industry are considered in terms of their relationship to the information economy: copyright protection and branding, and competition between producers of information storage and retrieval devices. The paper concludes that interpreting music as an information industry sheds new light on the music business, and points to important questions for further research within the information economy literature.

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Più fonti

Tesi sul tema "Humanities -> music -> business aspects"

Iwamasa, Dawn A. "The effect of music-assisted relaxation training on measures of state anxiety and heart rate under music performance conditions for college music students". Scholarly Commons, 1998. https://scholarlycommons.pacific.edu/uop_etds/2324.

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The purpose of this study was to examine the effects of a music-assisted relaxation training program as a treatment method for college music students suffering from performance anxiety. A total of 40 participants were randomly assigned to the experimental (n=20) and wait-list control (n=20) groups. The experimental group received six music-assisted relaxation training sessions while the wait-list control group received no contact. Dependent measures included pre- and post-test State Trait Anxiety Inventory (ST AI) scores and heart rate measurements during individual jury examinations (performance condition). Results found no differences in ST AI scores and heart rate measurements between groups. Factors such as years of formal training and memorization of performance showed no differences in dependent measures. The experimental group rated their performance quality as significantly higher than the wait-list control group. All participants who received the relaxation training program felt they benefited from it, and_ found it helpful in feeling more "in control" and "focused on their music" during performances.

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Clemen, Hannah E. "The use of principles and techniques derived from meditation for the design and creation of co-participatory musical systems". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/644.

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For this thesis, a detailed study was undertaken to determine whether techniques derived from traditional meditation systems can be applied to "co-participatory" music systems in order to enhance their accessibility, interactivity, and experiential impact, In order to adequately address this subject, a number of investigative steps have been taken. First, a workable list of definitions for what meditation actually is was made by comparing the practices and philosophies of a number of traditional meditation forms. The conclusions derived from this stage of the discussion served to create a definitive "blueprint" for meditation and served as a theoretical foundation for the rest of the dissertation. The second stage was to see how these definitions manifest in the meditation form; of the modem world. This approach provided insight into how changed cultural perspectives exert a major influence on the effectiveness andlor appropriateness of certain traditional techniques. In addition to modern meditation practices, the definitions from chapter two were also examined from the perspective of modem science, another important aspect of modern culture. The observations from this chapter served as the basis for chapter four, in which the experiential, symbolic and conventional features of Western Art Music were examined. This was to provide some points of reference with which to consider the possibility of using meditation techniques to enhance the "musical experience". In chapter five, an examination was made of a number of composers and artists and their relevant works who have devised methods by which some of the more "restrictive" aspects of West em Art Music can be overcome or bypassed, so as to gain access to the full potential of that "musical experience". This stage of the discussion provided a practical framework with which to discuss the background, design and realization of my own wod. ~ connected to this research, collectively called the Wheel of Life project. One of the main aims of this creative project has been to subvert many of the "anachronistic" conventions of Western Art Music, particularly conventions such as performer/audience separation and overly rigid or ambiguous musical structures. By doing this, it is hoped th3t musical systems can be created that allow the participant to engage in a much more personally meaningful and actively creative experience.

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Winn, Alisha R. "Beyond the Business: Social and Cultural Aspects of the Atlanta Life Insurance Company". Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1809.

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The dissertation research is an examination of the social and cultural dynamics of the Atlanta Life Insurance Company (ALIC) in Atlanta, GA. During the Jim Crow era (and post Jim Crow era), the ALIC provided economic mobility through employment, home loans, life insurance, and community solidarity. The company was one of the largest and most successful African-American financial institution in the country during the 20th century. It was founded in 1905 by Alonzo F. Herndon, a prosperous black barber and entrepreneur who rose from enslavement to become by 1927 the wealthiest African American in Atlanta. Renamed as the Atlanta Life Financial Group (ALFG), today the insurance company remains the leading African American stock-owned insurance company in the nation. I examine how Atlanta Life employees conceptualized their relationships within the company (past and present) and the larger African American community of Atlanta, along with the role the institution played as a shared space for producing cultural identities through social interactions. I explore the multiple roles of the company that impacted the community in the past and current roles within the African American community. I also explore what the possible closing of the Herndon Home Museum mean for memories and heritage, and the Herndon family's accomplishments if the home were torn down.

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Louie, Cheryl Ann. "The effects of music and metronomic beat on heart rate, ratings of perceived exertion, and physical endurance prior to a heart rate cut-off". Scholarly Commons, 1989. https://scholarlycommons.pacific.edu/uop_etds/2174.

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This study examined the effects of music and metronomic beat on heart rate (HR). ratings of perceived exertion (RPE). and physical endurance in healthy females ages 18 to 30. Volunteers were screened via a health questionnaire and the Astrand Work Test on a Monark bicycle ergometer. yielding a predicted aerobic working capacity (V02) of 28 mililiters or more. The 30 subjects were then randomly assigned to one of two experimental conditions (music or metronome group) for a cycling test at 75% capacity. HR and Borg RPE were measured repeatedly, with a posttest measure of physical endurance (kilometers travelled). No significant differences were found between the groups in HR. RPE. or kilometers travelled. A music questionnaire administered to the music group following the posttest examined the subjects' preference for and familiarity with the music, perceived and preferred volume, and experience with music. Trends and suggestions for future research are discussed.

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Mattsson, Lisa. "Music for Travel : A translation study focusing on cultural aspects and the use of adjectives in a text about music and tourism". Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-12597.

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This study deals with the translation from English into Swedish of a text about music and tourism. The special areas of interest were, on the one hand, how to translate references to cultural phenomena and, on the other hand, adjectives of graphic character. The source text is Music and Tourism: on the Road Again by Chris Gibson and John Connell from which all but a few pages from the introductory chapter were translated. The reader of the text would be a person interested in music, tourism and the history of the niche music tourism. With tourism and music come different cultural references, which can pose a problem for a translator. In turn, the cultural references are often phrased in a graphic language in the text, consisting mainly in specific adjectives that need to be as graphic in the target text. To solve the problem of translating a text like this, theories on translation, such as those presented by Vinay & Darbelnet (1995), Nida (2001), Newmark (1988) and Ingo (2007) were consulted. The procedures by Vinay and Darbelnet in particular were proven to be beneficial while translating. When dealing with the references to cultural aspects, Vinay and Darbelnet‟s procedure borrowing in combination with Ingo‟s addition were the ones most useful to the translation. In terms of translating the adjectives, Vinay and Darbelnet‟s transposition was mostly used.

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Ballico, Christina. "Bury me deep in isolation: A cultural examination of a peripheral music industry and scene". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/682.

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Since 1998, Perth bands have had a strong presence within the Australian music scene. Primarily, each year between 1998 and 2009, songs by indie pop/rock acts from Perth have charted within national broadcaster triple j’s Hottest 100 countdown. Many of the albums from which these songs have been taken have sold in excess of 35,000 copies, and a number of successful and recognised Perth bands have toured with the nation’s largest music festival, the Big Day Out as well as their own high profile national tours. At the same time, Perth’s local indie pop/rock music industry has undergone tremendous growth and development, becoming more integrated into this nationally focused industry while also making significant inroads internationally. This research comprises 40 in-depth qualitative research interviews with 48 musicians and key industry players from Perth’s indie pop/rock music industry and scene. It presents a socio-culturally based examination to explore its evolution over the past decade. This is presented through an examination of the personal experiences of those involved in development of the local industry and who experienced, or witnessed an increase in success and recognition of Perth bands in national, and at times international, contexts. Broadly, this research explores the repercussions the shift in attitude toward Perth’s indie pop/rock music industry and scene as being worthy of national attention and recognition. In particular, it discusses the implications this has on the functioning of this industry as well as the careers of those within it. Further, this study examines what it means to be a musician and/ or music industry member in and from Perth along with the attitudes toward supporting local music product locally and its attempts to connect with audiences beyond the state. Within this, an examination of the influence of the city’s geographical isolation on the functioning of the local industry and on the ability for musicians to connect with audiences beyond the state is presented alongside an exploration of the role of social networks and the structure of the community of practice evident in this local industry. Additionally, the notions of creativity and creative process, core-periphery, and place and space are examined in relation to the functioning of this industry in business and creative contexts. Underwriting this is an examination of the shifts in the national and international music industries and associated music culture. These shifts all at once influenced the validity for Perth music to enter the national market and impacted upon the ongoing integration of this local industry within the national and international markets.

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Roustant, Olivier. "Produits dérivés climatiques : aspects économétriques et financiers". Phd thesis, Université Claude Bernard - Lyon I, 2003. http://tel.archives-ouvertes.fr/tel-00804727.

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Cette thèse constitue l'une des premières études des produits dérivés climatiques. Elle examine d'abord la modélisation de la température, qui est la variable climatique la plus fréquente (chapitre 1). Un modèle univarié de type autorégressif à volatilité périodique est en général approprié pour décrire sa dynamique, notamment pour les données françaises. Elle aborde alors quelques aspects financiers des risques climatiques. En particulier, la quasi-indépendance du marché à la température semble justifier la pratique de l'évaluation selon une approche actuarielle (chapitre 2). Enfin, elle quantifie le risque de modèle lié à cette pratique (chapitre 3). Tandis que les prix des contrats Futures sont robustes par rapport aux erreurs de modélisation, d'importantes incertitudes sont mises en évidence autour du prix des options. La source des erreurs a été identifiée : il s'agit des composantes déterministes de tendance et de saisonnalité relatives à la moyenne du processus de température.

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Williams, Jolin Johan. "The South Korean Music Industry: The Rise and Success of ‘K-Pop’ By: Johan". Thesis, Stockholms universitet, Avdelningen för koreanska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-148696.

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Rhormens, Diego Paulo. "O negócio da música sertaneja no Brasil: tocando as emoções, as relações, o corpo e a alma". Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21560.

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Country music is taking the centrality of many events and the media, being the most played and listened music genre in Brazil. This work aims at understanding the social and cultural benefits of country music and its market dynamic in Brazil, from the point of view of the different professionals involved in its production and communication. The research focused on perceiving what are the functions of the different professionals involved in the production and communication of country music, comprehending the factors that led to the great public support to its culture, assessing what are the benefits proportioned to individuals by its songs from the social and cultural standpoint, and understanding the importance of television, radio and internet in its culture. This work is justified in the view of creative economy importance in the Brazilian cultural scene and by the need of better discerning this business to the benefit of country music industry professionals. This work is also upheld by the fact that country music is a cultural asset, which relates to individuals values, traditions, relationships, memories and affections, and therefore cannot be treated merely as a commercial issue, but must be respected in its cultural and social context. The research methodology consisted on reviewing the theme´s bibliography and carrying out eight interviews with different music scene agents that were further analyzed. Through the interviews, it was possible to establish that, when country songs are played in events, they favor many kinds of individual connections, such as new friendships, love relationships, among others. Song lyrics are full of stories with feelings and emotions, and may enable individuals to identify themselves with what is being sung by artists, specially regarding to love relationships and its developments. Traditional country music is a Brazilian historical and cultural heritage that portrays the life in the countryside. There are many professionals working directly with the music industry in different functions and putting together their skills to take culture to the audience, given that music is art, but is also inserted in a market logic
A música do estilo sertanejo vem assumindo a centralidade em diversos eventos e nos meios de comunicação, sendo o gênero musical mais tocado e ouvido no Brasil. O presente trabalho tem como objetivo entender os benefícios sociais e culturais trazidos pela música sertaneja e a dinâmica do mercado deste ritmo no Brasil, a partir do ponto de vista de diferentes profissionais envolvidos em sua produção e divulgação. A pesquisa buscou entender qual a função dos diferentes profissionais envolvidos na produção e divulgação da música sertaneja, compreender os fatores que levam à grande adesão do público brasileiro a sua cultura, verificar quais os benefícios proporcionados aos indivíduos pelas músicas sertanejas do ponto de vista social e cultural, e entender a importância da televisão, do rádio e da internet para a cultura da música sertaneja. Este trabalho se justifica em virtude da importância da economia criativa no cenário cultural brasileiro e pela necessidade de compreender melhor este negócio para que os profissionais envolvidos com a música sertaneja possam ter uma maior compreensão do mercado. Também se justifica pelo fato de que se trata de um bem cultural, que se relaciona com valores, tradições, relações, memórias e afetos dos indivíduos, portanto, não deve ser tratado apenas como uma questão comercial, mas deve ser respeitado o seu contexto cultural e social. A metodologia da pesquisa consiste em uma revisão bibliográfica sobre o tema e a realização de oito entrevistas com diversos atores do cenário musical que foram posteriormente analisadas. Por meio das entrevistas, foi possível verificar que as músicas sertanejas quando tocadas em eventos podem facilitar diversos tipos de relações entre os indivíduos, como o estabelecimento de novas amizades, relacionamentos afetivos, entre outros. As músicas são carregadas de histórias com sentimentos e emoções, e podem fazer com que os indivíduos se identifiquem com aquilo que está sendo cantado pelos artistas, em especial no que se refere aos relacionamentos amorosos e seus desdobramentos. A música sertaneja raiz é um patrimônio histórico e cultural brasileiro que retrata a vida no campo. Existem muitos profissionais que trabalham diretamente com o negócio da música em diferentes funções e unem suas competências para levar a cultura ao público, já que a música é arte, mas também está inserida em uma lógica de mercado

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Harris, Linda H. "On Human Migration and the Moral Obligations of Business". UNF Digital Commons, 2008. http://digitalcommons.unf.edu/etd/296.

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This work addresses to what extent businesses in the United States and the European Union have a moral obligation to participate in social integration processes in areas where they operate with the use of migrant laborers. It begins with the presupposition that a common framework as to what constitutes ethical behavior in business is needed and beneficial. It argues that the very industry that creates a need for migrant labor ought to also be involved in merging this labor successfully into the existing community and specifies that a discourse on business ethics and migration is gravely needed. This must be one that considers how businesses can become more engaged in resolving the social issues that arise both for the migrants and for the local community in which the businesses operate. The purpose would be to fill a social and humanitarian need that government alone cannot. More importantly, it will be to exercise beneficence and display responsible and sincere corporate citizenship. It is claimed that businesses that fail to encourage and participate in integration processes display a moral flaw. Cosmopolitan business ethics are proposed as a way to look at ethical business conduct and it is claimed that businesses that act as cosmopolitan citizens are morally praiseworthy.

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Più fonti

Libri sul tema "Humanities -> music -> business aspects"

Andrew, Blake. The music business. London: B.T. Batsford, 1992.

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Patten, Kevan. Music business contracts. San Gabriel, CA: Patten Sound, 1993.

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Michael, Fink. Inside the music business: Music in contemporary life. New York: Schirmer Books, 1989.

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Truly, Traci. Making Music Your Business. Naperville: Sourcebooks, Inc., 2005.

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Whitsett, Tim. Music publishing: The real road to music business riches. Jackson, MS: Midas, 1993.

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Fink, Michael. Inside the music industry: Creativity, process, and business. 2^a ed. New York: Schirmer Books, 1996.

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Gigante, Alice Beth. A business guide for the music teacher. San Diego, Calif: Kjos West, 1987.

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Krasilovsky, M. William. This business of music: The definitive guide to the music industry. 9^a ed. New York: Watson-Guptill Publications, 2003.

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Krasilovsky, M. William. This business of music: The definitive guide to the music industry. New York, NY: Billboard, 2007.

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Shane, Simpson, e Stevens Greg, a cura di. Music, the business and the law. Sydney: Law Book Co., 1986.

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Li, Hanchao, Xiang Fei, Ming Yang, Kuo-ming Chao e Chaobo He. "Theoretical Aspects of Music Definition Language and Music Manipulation Language". In Advances in E-Business Engineering for Ubiquitous Computing, 199–207. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-34986-8_14.

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Phillips, Michelle, e Ava Podgorski. "Best Practice Considerations for Arts Educators When Developing Intensive Online Courses for Creative Industries Higher Education Students". In FGF Studies in Small Business and Entrepreneurship, 183–97. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-28559-2_13.

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AbstractThe 2-year StART Entrepreneurship Project (StART) aims to support creative industries students to develop skills and utilise real-world experience to build successful and sustainable careers. UK-based and funded by the Office for Students and Research England, StART is a collaboration between the Royal Northern College of Music (RNCM), the Royal Central School of Speech and Drama (RCSSD) and University of the Arts London (UAL). The project involves the development of new in-curricular and extracurricular content and events, tailored specifically for students studying for higher education degrees in these and other specialist creative arts institutions.This chapter explores one specific way of delivering entrepreneurship education to students, an intense period of contact time often referred to as a ‘boot camp’. The chapter outlines the planning stage of this event, including how existing research on entrepreneurial learning might be mapped onto the boot camp format and how aspects of the QAA (Enterprise and Entrepreneurship Education: Guidance for UK education providers, Quality Assurance Agency for Higher Education, Gloucester, 2018) guidance was to be integrated. The chapter will also detail how existing frameworks such as EntreComp (McCallum et al., Joint Research Centre Entrepreneurship and the creative economy (3):400–414, 2018) and the CLEAR IDEAS model (Birdi, European Journal of Work and Organizational Psychology 30(3):400–414, 2021) informed design and delivery and how input from external industry partners and students themselves (both event participants and members of the StART Student Advisory Board) was a key part of the planning.

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"A. BUSINESS ASPECTS". In Popular Music, 509–15. Routledge, 2016. http://dx.doi.org/10.4324/9781315622583-24.

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Lubet, Alex. "Music, Music Therapy, Disability Studies, Bioethics, and Health Humanities". In Teaching Health Humanities, a cura di Olivia Banner, Nathan Carlin e Thomas R. Cole, 338–52. Oxford University Press, 2019. http://dx.doi.org/10.1093/med/9780190636890.003.0020.

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This essay describes two disability-related courses—Disability Ethics and Music, Disability, and Society—which have become de facto requirements (one or both courses) for graduate students in music therapy. Music therapists comprise much of the majority of students in these courses who come from healthcare fields. This essay contemplates, in Disability Ethics, the roles of music/musicians/music therapists in bioethics and the role of bioethics in music therapy. In Music, Disability, and Society, students learn that music-making—presumably a talent or hyperability—offers a uniquely valuable perspective on disability. Disability Ethics proposes that mainstream bioethics takes too narrow a view of its potential reach. It marginalizes those professionals beyond doctors, nurses, policymakers, and administrators, such as health workers and other practitioners in mind–body praxis—including, for example, music teachers—who might benefit from its teachings, methods, and research and who at the same time themselves might have a beneficial impact on those teachings and methods. Music, Disability, and Society proposes that, through contemplating the place of talent in culture, the socially constructed aspects of disability are illuminated.

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Blezzard, Judith. "What Choirs Also Sang: Aspects of Provincial Music Publishing in Late-nineteenth-century England". In The Business of Music, 62–95. Liverpool University Press, 2002. http://dx.doi.org/10.5949/liverpool/9780853235286.003.0003.

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Cielavin, Sandra Regina, e Adriana N. A. Mendes. "Choral music teaching and the use of a Learning Management System in aspects of self-regulation". In Teaching and learning projects in Arts and Humanities, 124–33. Adaya Press, 2023. http://dx.doi.org/10.58909/ad23474798.

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This work aims to address aspects of choral music teaching through a Learning Management System (LMS) based on the principles of self-regulation. Self-regulation is a concept that involves elements related to motivational beliefs and the students’ learning process. A survey was carried out in order to describe resources and activities that could be applied in LMS environments considering choral music and self-regulated learning. As a result, it is expected that the use of LMS in choral singing from the concepts of self-regulation of learning may contribute to the development and motivation of choristers. This study may contribute to music education in different areas from the point of view of using online learning environments that are used in a hybrid way.

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"The Big Ones of the Music Industry: Copyright and Human Rights Aspects of the Music Business". In Expanding the Horizons of Human Rights Law, 237–87. Brill | Nijhoff, 2005. http://dx.doi.org/10.1163/9789047407423_009.

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O’Reilly, Dr Daragh, Dr Gretchen Larsen e Dr Krzysztof Kubacki. "Marketing and Music". In Music, Markets and Consumption. Goodfellow Publishers, 2013. http://dx.doi.org/10.23912/978-1-908999-52-8-2255.

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The purpose of this book is to contribute to discussions about the music business from a marketing point of view. Arts marketers have long argued that marketing thinking needs to be substantially adapted to deal with the complexities and particularities of the creative and cultural industries. There are a number of books which take a practical approach to the marketing of music (e.g. Baker’s (2012) Guerilla Music Marketing Online), or provide an overview of the music industry (e.g. Kusek and Leonhard’s (2005) The Future of Music: A Manifesto for the Digital Music Revolution and Wikstrom’s (2009) The Music Industry: Music in the Cloud), or comment on economic aspects of the business from the point of view of popular music studies. This book, in contrast, deals with the application of marketing and consumer studies theory to the business. As far as the authors can establish, this has not been attempted before.

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Theodore Hoppen, K. "The Business of Culture". In The Mid-Victorian Generation, 372–426. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198228349.003.0012.

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Abstract As industrialization became more pervasive in the second half of the nineteenth century so the imperatives of an increasingly sophisticated commercialism began to affect all aspects of British life. High and low culture enthusiastically embraced what Dickens called a new frankness about ‘those little screws of existence—pounds, shillings, and pence’. ‘I write for money. Of course I do’, noted Trollope, ‘It is for money that we all work, lawyers, publishers, authors and the rest.’ And while this neither negated nor overwhelmed that internally generated logic which has in all periods given works of art their essential pattern and form, its influence upon the deep structures—as well as the surface appearances—of novels, poems, music, buildings, and paintings is difficult to exaggerate.

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L’Hoeste, Héctor Fernández. "Nation Branding". In Digital Humanities in Latin America, 57–73. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401476.003.0004.

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This chapter proposes the practice of nation branding as a political technology, as an example of neoliberalism in which the definition of national identity, previously assessed primarily by the social sciences and humanities, becomes the domain of business managers and advertising executives, thanks to technologies associated with social media. It explains how the redefinition of social goods, the role of the state, and the role of experts entail the replacement of a more socially driven understanding of identity with an act of commercial prestidigitation by way of nation branding; the pertinent state entities are replaced by advertising and image consultancy firms; and, lastly, scholars of various disciplines are replaced by advertising and PR executives. In short, following neoliberalism, identity is reinterpreted as brand. Identity no longer results from the never-ending and instantaneous negotiation between a multiplicity of parties, representative of myriad aspects relevant to the configuration of individuals and communities, but is rendered instead as the quantifiable, concrete result of a variety of transactions. Through this reformulation, a new relationship is suggested between the idea of nation as imagined community and the reality of the state as a material expression of the concept of nation.

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Atti di convegni sul tema "Humanities -> music -> business aspects"

Li, Yonghao, Qirui Zhang, Anna Rita Li e Jun Cheng. "Business Model Comparison Between Spotify and NetEase Cloud Music". In 2021 4th International Conference on Humanities Education and Social Sciences (ICHESS 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.211220.436.

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Vania, Tamara, Adi Ismanto e Aing R. Nayadilaga. "The Composition of Room with Acoustical Applications in the Ensemble Room of Purwacaraka College of Music". In International Conference on Economics, Business, Social, and Humanities (ICEBSH 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210805.198.

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Zheng, Xiaxuan. "Research of Cultivating Music Inner Hearing based on the Principles of Business Psychology". In Proceedings of the 3rd International Conference on Economics and Management, Education, Humanities and Social Sciences (EMEHSS 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/emehss-19.2019.104.

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Wiflihani, Wiflihani, Pita Silitonga e Herna Hirza. "Music in “Gobuk Melayu" Ritual Traditions: Study of Performance Aspects, Forms and Structures". In Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.2-11-2019.2294720.

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Schneller, Beverly. "Integrating the Humanities into Entertainment and Music Business and Performing Arts Students’ Learning Through Artists’ Biography and Autobiography". In MEIEA Educators Summit 2018. Music and Entertainment Industry Educators Association, 2018. http://dx.doi.org/10.25101/18.13.

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Hasanah, Hetty, e Eman Suparman. "Legal Aspects of the Digital Signature in E-Commerce Connected to Law Number 19 Year 2016 about Amendments to Law Number 11 Year 2008 about Information and Electronic Transactions". In Proceedings of the International Conference on Business, Economic, Social Science, and Humanities – Humanities and Social Sciences Track (ICOBEST-HSS 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200108.012.

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Jakupi, Syzana. "PIANO WORKS BY COMPOSER RAUF DHOMI (ANALYSIS FOR INTERPRETATION)". In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.14.

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The primary purpose of the paper is to present research analysis which aims to recognize the art of Kosovan piano music through analysis for interpretation as a relatively new discipline born in the late �90s that today in the world counts numerous publications. The qualitative-descriptive methodology is used in this paper. It entails interpreting and analyzing music, with a focus on Rauf Dhomi�s Opus �70 Pieces for Piano�. Many European countries have previously experienced the splendor and enchantment of the Renaissance, but Kosovo is currently undergoing a true Renaissance following its independence in 2008. The general characteristics of the Kosovan Renaissance have been reflected in less than twenty years, with a clean impetus and energy that has built through time in the entire nation, includingall aspects of life, and thus the sphere of art, and the magical world of music. Despite the challenges that the Kosovan artist has faced in the past, he still has the ability to overlook themin favor of the beautiful and magical. That is why the Renaissance�s magic lives on now, granting many artists in the arts, such as instrumentalists, vocalists, and composers, a well- deserved place in Europe�s and the world�s most prominent stages.

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Sachdev, Kumar Neeraj, e Ashwini Ramesh Sharma. "UNRAVELING THE AMBIGUITIES IN UNDERSTANDING OF CSR IN THE BUSINESS WORLD: A PROFESSIONAL ETHICS PERSPECTIVE". In SSHRA 2024 – Social Science & Humanities Research Association International Conference, 09-10 July, Bangkok. Global Research & Development Services, 2024. http://dx.doi.org/10.20319/icssh.2024.339340.

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The arguments regarding Corporate Social Responsibility (CSR) typically revolve around two main perspectives. Thinkers of one perspective assert that Individuals or Organizations should engage in CSR primarily because it is their moral obligation to work for the wellbeing of fellow human beings and the environment because they have the resources to help the people and the government. Thinkers of opposing viewpoint argue that Individuals or Organizations may refrain from participating in CSR initiatives because the primary objective of any business entity is to make profit and pursuit of any other objective is considered to be a waste of resources at the cost of investors. Both these viewpoints appear to form a no-meeting-point web of opposing arguments possibly because the definition of CSR and the perception about CSR generate a lot many ambiguities. The definition of CSR informs about voluntary assumption of responsibilities that go beyond economic and legal responsibilities but the examples of CSR appear to be varied: one moment, it seems to mean the use of corporate resources to operate a program to address some social problem; the next, it is all about charitable donations, and sometime later, it seems to mean providing benefits to employees to improve their quality of life in the workplace. On the other hand, the perception of people about CSR appears to be two-fold: CSR is a moral endeavor and CSR is a business strategy. The people working in the business world and elsewhere perceive CSR as a moral endeavor to help the general lot of people and the environment, but that is also perceived to function simultaneously as a business strategy to promote the economic interests of the organization. We argue in the paper that there is a need to better understand the conflicting domains of definition of CSR and perception about CSR separately and in relation to each other because any ambiguity in the understanding of these two aspects of CSR potentially can pose dangers to the ethically correct practices of CSR in the business world and in the society.

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Grimes, Diarmuid, Marian Hurley, Violeta Morari e Jim M. O’Mahony. "Academic Integrity differences across faculties: A student survey". In Tenth International Conference on Higher Education Advances. Valencia: Universitat Politècnica de València, 2024. http://dx.doi.org/10.4995/head24.2024.17312.

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In this work, we report on an Academic Integrity-focussed survey conducted in late 2023 at Munster Technological University. We investigated possible correlations between respondents’ discipline areas and their experiences of academic integrity. We found that more students of the university’s Faculty of Engineering and Science report familiarity with relevant institutional policies than do their peers in Business and Humanities Faculty. Reported frequency of in-lecture discussions about academic integrity also differed, with more frequent discussions on aspects of academic integrity by lecturers in the former faculty than in the latter. While the kinds of academic misconduct engaged in and witnessed by students of both faculties also vary, the use of GenAI was the most frequently observed type of misconduct by students in both faculties. We also found a similar majority of students from both faculties would like a reporting mechanism, but would not report academic misconduct by another student.

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