Business statistics using EXCEL and SPSS

'Takes the challenging and makes it understandable. The book contains useful advice on the application of statistics to a variety of contexts and shows how statistics can be used by managers in their work.' - Dr Terri Byers, Assistant Professor, University Of New Brunswick, Canada A book about introductory quantitative analysis for business students designed to be read by first- and second-year students on a business studies degree course that assumes little or no background in mathematics or statistics. Based on extensive knowledge and experience in how people learn and in particular how people learn mathematics, the authors show both how and why quantitative analysis is useful in the context of business and management studies, encouraging readers to not only memorise the content but to apply learning to typical problems. Fully up-to-date with comprehensive coverage of IBM SPSS and Microsoft Excel software, the tailored examples illustrate how the programmes can be used, and include step-by-step figures and tables throughout. A range of ‘real world’ and fictional examples, including "The Ballad of Eddie the Easily Distracted" and "Esha's Story" help bring the study of statistics alive. A number of in-text boxouts can be found throughout the book aimed at readers at varying levels of study and understanding •Back to Basics for those struggling to understand, explain concepts in the most basic way possible - often relating to interesting or humorous examples •Above and Beyond for those racing ahead and who want to be introduced to more interesting or advanced concepts that are a little bit outside of what they may need to know •Think it over get students to stop, engage and reflect upon the different connections between topics A range of online resources including a set of data files and templates for the reader following in-text examples, downloadable worksheets and instructor materials, answers to in-text exercises and video content compliment the book.

Musical commonplace book : manuscript, [approximately 1790-approximately 1810]

Contains songs, partly from English operas, and instrumental music.

Into the Bends of Time and Musical Forces in Jazz: Group Interaction and Double-time in “My Foolish Heart” as performed by the Bill Evans Trio with Scott LaFaro and Paul Motian.

Into the Bends of Time is a 40-minute work in seven movements for a large chamber orchestra with electronics, utilizing real-time computer-assisted processing of music performed by live musicians. The piece explores various combinations of interactive relationships between players and electronics, ranging from relatively basic processing effects to musical gestures achieved through stages of computer analysis, in which resulting sounds are crafted according to parameters of the incoming musical material. Additionally, some elements of interaction are multi-dimensional, in that they rely on the participation of two or more performers fulfilling distinct roles in the interactive process with the computer in order to generate musical material. Through processes of controlled randomness, several electronic effects induce elements of chance into their realization so that no two performances of this work are exactly alike. The piece gets its name from the notion that real-time computer-assisted processing, in which sound pressure waves are transduced into electrical energy, converted to digital data, artfully modified, converted back into electrical energy and transduced into sound waves, represents a “bending” of time.

The Bill Evans Trio featuring bassist Scott LaFaro and drummer Paul Motian is widely regarded as one of the most important and influential piano trios in the history of jazz, lauded for its unparalleled level of group interaction. Most analyses of Bill Evans’ recordings, however, focus on his playing alone and fail to take group interaction into account. This paper examines one performance in particular, of Victor Young’s “My Foolish Heart” as recorded in a live performance by the Bill Evans Trio in 1961. In Part One, I discuss Steve Larson’s theory of musical forces (expanded by Robert S. Hatten) and its applicability to jazz performance. I examine other recordings of ballads by this same trio in order to draw observations about normative ballad performance practice. I discuss meter and phrase structure and show how the relationship between the two is fixed in a formal structure of repeated choruses. I then develop a model of perpetual motion based on the musical forces inherent in this structure. In Part Two, I offer a full transcription and close analysis of “My Foolish Heart,” showing how elements of group interaction work with and against the musical forces inherent in the model of perpetual motion to achieve an unconventional, dynamic use of double-time. I explore the concept of a unified agential persona and discuss its role in imparting the song’s inherent rhetorical tension to the instrumental musical discourse.

Kevin Barry and the Anglo-Irish Propaganda War

Most Irish people, when asked what they know of the life and death of Kevin Barry, will pause for a moment while they recall the words of a famously maudlin ballad. A few points will emerge: ‘a lad of eighteen summers’ … ‘British soldiers tortured Barry’ … ‘refused to turn informer’ … ‘hanged him like a dog’ … ‘another martyr for old Ireland, another murder for the crown’. That they know anything at all about Kevin Barry is testimony, among other things, to the power of popular music for the making of political propaganda. Along with Father Murphy, Seán South and Fergal O’Hanlon, Kevin Barry figures in the pantheon of nationalist Ireland’s popular historical heroes, largely because somebody happened to write a good song about him. In many ways this is unfortunate, for Barry and the rest were once living people, and the process of iconographifying them in popular balladry, like all forms of political propaganda, serves not to clarify their roles in the historical events in which they played a part, but rather to obscure and distort them. So it is worth reconsidering the story of Kevin Barry, for a number of reasons. To begin with, his short life reached its climax at a vital moment in the long struggle for Irish self-government, a moment when the violence unleashed in 1916 burst forth again with renewed savagery on both British and Irish sides, involving in the Barry case the deaths of four young men aged between fifteen and twenty.