974 resultados para Songs, Scandinavian.


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This paper examines the question of technology transfer from the perspective of techno-economic security and how companies respond to the possibility of losing competitive advantage through misappropriation or leakage. It explores transfers from Europe to China and addresses in particular the operations of Scandinavian companies within the context of the general picture for other European firms. Its point of departure is the authors' earlier research that looked at the motivations for transfer and the awareness of companies of techno-economic security issues. This has been supplemented by new data gathered by the authors from a number of Scandinavian companies in China. Specific actions have been identified and the ownership issue is introduced together with consideration of the role of the companies against the 'Ferdows' model. The analysis shows that the nature of the security question has changed together with the evolving context in which the companies are operating. In turn, the response of companies is contingent on a number of factors including the time horizon of the strategy for a unit in China and the nature of the strategy. It is also influenced by the form of ownership and management style in a particular organisation. © 2002 Elsevier Science Ltd. All rights reserved.

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ACM Computing Classification System (1998): H3.3, H.5.5, J5.

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The paper presents the main results of an ongoing project aimed at the development of technologies for digitization of Bulgarian folk music and building a heterogeneous digital library with Bulgarian folk songs presented with their music, notes and text. An initial digitization and preservation of the Bulgarian cultural heritage starts by means of digitization and insertion into the library of over 1000 songs that were recorded and written down during the 60s and 70s of XX century. Also we present a full text search engine in a collection of lyrics (text of songs) and coded notes (symbolic melody). Some perspectives for future projects are also discussed.

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Irish rebel songs afford Scotland’s Irish diaspora a means to assert, experience, and perform their alterity free from the complexities of the Irish language. Yet this benign intent can be offset by how the music is perceived by elements of Scotland’s majority Protestant population. The Scottish Government’s Offensive Behaviour Act (2012) has been used to prosecute those singing Irish rebel songs and there is continuing debate as to how this alleged offence should be dealt with. This article explores the social function and cultural perception of Irish rebel songs in the west coast of Scotland, examining what qualities lead to a song being perceived as ‘sectarian’, by focusing on song lyrics, performance context, and extra-musical discourse. The article explores the practice of lyrical ‘add-ins’ that inflect the meaning of key songs, and argues that the sectarianism of a song resides, at least in part, in the perception of the listener.