945 resultados para Music Industry History
Resumo:
This paper addresses two interrelated issues in tourism development: horizontal integration within tourism's component sectors and attempts at vertical integration between them. The paper employs a conceptual framework adapted from regulation theory, to assess the dynamics of these processes, particularly in relation to airlines and hotels. Through examining some of the most important examples of both horizontal and vertical integration, it indicates how these have influenced contemporary strategies in the component sectors. The paper goes on to illustrate how trends towards Fordist organization within airlines have conflicted with post-Fordist trends in hotel operations, to undermine attempts at vertical integration across the tourism industry. (C) 2000 Elsevier Science Ltd. All rights reserved.
Resumo:
In recent years qualitative research methods have been adopted within in the field of music education and have received widespread acceptance. However, the theoretical framework provided by ethnomethodology (Garfinkel, 1974, in R. Turner, Ethnomethodology , Penguin, Middlesex, UK) and the tools of conversational analysis (Sacks, 1992, Lectures on Conversation , edited by Gail Jefferson, Blackwell, Oxford, UK) have, to this point, been overlooked by researchers in the field of music education. In this paper I argue that the application of ethnomethodological and conversation analytical approaches in the field of research in music education can provide fresh insights into the work of music teachers and how this work is accomplished in institutional settings. Here I demonstrate how a conversation analytical perspective drawing on an ethnomethodological framework might be used to investigate transcripts of audio-recorded interview talk. This type of analysis can illuminate aspects of members' roles in relation to, and perceptions about music education in school settings that might be overlooked in other types of analysis. A conversation analytical approach to the examination of talk-in-interaction explicates in fine-grained detail how members orient to matters at hand in the context of research settings, as well as revealing features of the cultural world of music teaching. Further application of the approach to research problems in other school settings, I argue, will inform the field of music education in ways yet to be realised.
Resumo:
Trace element concentrations and combined Sr- and Nd-isotope compositions were determined on stromatolitic carbonates (microbialites) from the 2.52 Ga Campbellrand carbonate platform (South Africa). Shale-normalised rare earth element and yttrium patterns of the ancient samples are similar to those of modern seawater in having positive La and Y anomalies and in being depleted in light rare earth elements. In contrast to modem seawater (and microbialite proxies), the 2.52 Ga samples lack a negative Ce anomaly but possess a positive Eu anomaly. These latter trace element characteristics are interpreted to reflect anoxic deep ocean waters where, unlike today, hydrothermal Fe input was not oxidised, and scavenged and rare earth elements were not coprecipitated with Fe-oxyhydroxides. The persistence of a positive Eu anomaly in relatively shallow Campbellrand platform waters indicates a dramatic reversal from hydrothermally dominated (Archaean) to continental erosion-dominated (Phanerozoic) rare earth element flux ratio. The dominant hydrothermal input is also expressed in the initial Sr- and Nd-isotope ratios. There is collinear variation in Sr-Nd systematics, which range from primitive values (Sr-87/Sr-86 of 0.702386 and epsilon (Nd) of +2.1) to more evolved crustal ratios. Mixing calculations show that the range in trace element ratios (e.g., Y/Ho) and initial isotope ratios is not a result of contamination by trapped sediment, but that the chemical band isotopic variation reflects carbonate deposition in an environment where different water masses mixed. Calculated Nd flux ratios yield a hydrothermal input into the 2.52 Ga oceans one order of magnitude larger than continental input. Such a change in flux ratio most likely required substantially reduced continental inputs, which could, in turn, reflect a plate tectonic causation (e.g., reduced topography or expansion of epicontinental seas). Copyright (C) 2001 Elsevier Science Ltd.
Resumo:
The field of contemporary youth-specific theatre in Australia is one of change and, in some cases, anxiety. While Drama Studies continue to grow in popularity in schools, previously conventional developmental paradigms have become less mandatory for theatre, for, by, and about young people outside the school context. Instead, 'new generation' approaches in youth-specific performance are placing greater value on young people's own preferences in cultural activity. Yet this development is being tempered and further complicated by a cultural 'generationalism', particularly in larger arts organization as the youth sector becomes a more integral part of marketing strategies for the future. The resulting ambiguity in the representation, value, and positioning of young people and youth-specific arts in Australia's theatre industry is considered by focusing on Magpie2, a former youth-specific company attached to the State Theatre Company of South Australia. Magpie2 ceased operation in 1998 after experimenting with a 'new generation' approach to theatre for young people in the State Theatre realm. Both the artistic policy of Magpie2 Director, Benedict Andrews, and the critical reception of his two productions in 1997, Future Tense and Features of Blown Youth, demonstrate how competing systems of cultural value characterize the field of youth-specific theatre in Australia.