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Determining Criteria for the Evaluation of High School Band Directors: A Survey of High School Principals and Band Directors in the State of OhioParulekar, Marc Samir 04 September 2014 (has links)
No description available.
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We Should Be Together: An Exploration of Acting in and Directing the Same FilmWells, Zachery D. 26 August 2014 (has links)
No description available.
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Challenges of Medical Laboratory Science and Medical Laboratory Technology Program DirectorsKovach, Alison A. 08 June 2015 (has links)
No description available.
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Special Education Administrators' Role and Impact in Providing Secondary Transition Services to StudentsParrish, Alvera Jarrett 27 April 2006 (has links)
This study explored the role of special education administrators in coordination of secondary transition services for students with disabilities in Virginia. A survey was designed and administered that examined their perceptions of the effect of (a) work load, size of the school district, wealth, setting, and staff support on level of importance, b) the relationships between levels of importance and involvement, c) the effect of size of the school district and staff support, and d) recommendations for improvement of transition services.
Analysis of the data revealed that special education administrators perceived level of importance for the coordination of transition services is high. Analysis of factors impacting the level of importance revealed eleven transition services that had a positive effect on staff support, size of school district, and full/part time special education administrators. The strongest positive relationships for staff support were the school principal and the special education teacher. The school principal impacted six of the eleven transition services identified, while the special education teacher impacted two of the transition services. Full/part time special education administrators had an impact on research and evaluating best practices, while size influenced two of the variables.
The correlation between levels of importance and involvement revealed significant correlation between 40% of the transition services. Special education administrators reported they were more likely to utilize others to coordinate the highest level of involvement in the coordination of services. Size of the school district had a positive effect on the resources needed for coordination of transition services. Time, financial, and community resources were identified as the greatest need for coordination of services.
Recommendations for improvement of implementation of transition services clustered into eight categories. However, the greatest number of recommendations from respondents were (a) additional staff employed for the specific purpose of coordination and delivery of transition services, (b) increased community resources to establish linkages with agencies and other related services, (c) additional staff development focused on transition programming, and clarification of the new IDEIA 2004 transition requirements, and (d) federal funding for mandated positions, to provide more equity and commitment to citizens with disabilities in Virginia. / Ed. D.
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Jednatel ve společnosti s ručením omezeným / Director in Limited Liability CompanyUher, Pavel January 2011 (has links)
A Director in Limited liability company The main reason of my research is a position of a director in Limited liability company. In my opinion this topic is very timely. Firstly due to the upcoming recodification of private law and secondly due to the position of a director as a statutory body of this kind of company which is our most common legal form of the capital company. The aim of the thesis is to describe a legal status of a director and to emphase the most important aspects of his function. The thesis also highlights the pitfalls of interpretation of certain provisions. The thesis is composed of 6 main chapters Chapter One briefly explains the definition of a director and the position of a director as a statutory body. There are defined requirements needed to perform the function of a director. Chapter Two compares the function of a director when a new company is formed and on contrary the emergence of this position during the existence of a company. Chapter Three deals with various ways of cessation of the function of a director. The greatest attention is paid to the resignation, in particular to the resignation in one-person company with one director. Chapter Four is concerned with the action of a director. The first part of this chapter is devoted to the two most important components of...
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Outside directors experience and the effect on company value : a South African studyJenkins, Kerry Claire January 2013 (has links)
In this thesis I investigate the impact of outside directors experience on company value. I do so by looking at a clear event, company delistings in the time period 2003 to 2011 in South Africa, a country with arguably imperfect institutions. Based on qualitative and quantitative research I am able to establish that director experience is indeed associated with company value. The qualitative analysis is based on semi-structured interviews with over 30 highly experienced, independent non-executive directors who have/had seats on over 150 South African listed company boards. Their responses confirm resource theory dependency and provide information on the nature of experience, its relevance during delisting and under other circumstances, as well as insight into the type of experience lacking on boards in corporate South Africa. The results of this research can be of practical use to nomination committees and has implications for future South African governance code reforms and/or guidelines.
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How can less be more? More is more! : En jämförelsestudie mellan svensk och amerikansk framställning av popmusik liveLundell, Samuel January 2023 (has links)
Trots att Sverige och USA delar liknande åsikter om hur popmusik bör låta på inspelningar, observerar jag en märkbar skillnad i liveframträdanden. Min hypotes är att USA har en allmän "more-is-more-inställning” till processen att producera liveframträdanden, en inställning som är relativt ovanlig i Sverige. Syftet med arbetet är dels att undersöka och utreda denna hypotes. För att göra det genomförde jag intervjuer med 15 svenska musiker och kapellmästare. 14 av 15 intervjupersoner stödde hypotesen. Studien utforskar flera möjliga förklaringar till denna upplevda skillnad, exempelvis trummisens roll. Studien tar också hänsyn till påverkan av den amerikanska inhemska musikindustrins storlek, vilket möjliggör för musiker att specialisera sig och etablera en unik konstnärlig nisch. Utöver jämförelsestudien mellan Sverige och USA, syftar arbetet även till att bidra till min personliga utveckling som arrangör, kapellmästare genom att närma mig det amerikanska idealet inom detta område. Avslutningsvis hoppas jag att denna studie kan få komma att fungera som en katalysator för fortsatta diskussioner och forskning om hur popmusik framställs i Sverige samt den svenska musikbranschens relation till ”more-is- more”. Texten avslutas med en diskussion och förslag till framtida forskning. / Despite Sweden and USA sharing similar views on how pop music should sound on recordings, I observe a noticeable discrepancy in live performances. The primary aim of this study is to identify the reasons behind this perceived difference. My hypothesis is that the US has a general “more-is-more” attitude towards the process of producing live performances, an attitude that is relatively rare in Sweden. To explore this hypothesis, I interviewed 15 Swedish musicians and musical directors. 14 of 15 of the interviewees supported the hypothesis. The study explores several possible explanations for this perceived difference, such as the role of the drummer. The study also considers the impact of the size of the American domestic music industry, which allows musicians to specialize and establish a unique artistic niche. In addition to the comparison study between Sweden and USA, this work also aims to contribute to my personal development as an arranger, musical director, and music producer by approaching the American ideal in this field. In conclusion, I hope that this study can serve as a catalyst for further discussions and research on how pop music is presented in Sweden and the Swedish music industry’s relationship to “more-is-more”. The text concludes with a discussion and suggestions for further research. / <p><em>”Ljudfil 1 – Ett live-ideal för låtproduktion”</em> är ett sammandrag av två spår från en EP där jag och min låtskrivarkollega Simeon Thelander (tillika sångare på projektet) hade avsikten att anamma ett amerikanskt sångideal och tillämpa en more-is-more approach vad gäller musikproduktionen. </p><p>Sammandraget inleds med ett utdrag från låten <em>Child of God</em> och vid 1:05 kommer ett utdrag från en låt som heter <em>Your Word</em>. Jag har varit med och skrivit låtarna samt arrangerat och producerat dem. Andra medverkande inkluderar Ricki Ejderkvist som spelar elgitarr på båda låtarna, Korey Fells spelar talkbox och artsiten Eylie är med och sjunger på <em>Child of God</em>. Emmy Lindéh och Ella Lindéh bidrar med körsång på <em>Your Word</em>. Tobias Grenholm har mixat båda spåren.</p><p><em>”Ljudfil 2 - Produktioner avsedda för framställning av popmusik live”</em> är ett sammandrag av två arrangemang och produktioner jag skapat för olika liveframföranden, vilka jag benämner som <em>Spår 1</em> och <em>Spår 2</em>.</p><p>Sammandraget inleds med ett utdrag från <em>Spår 1</em> där jag står för arrangemang och produktion. Övriga medverkande inkluderar Joshua Foster på trummor och Mathias Lunde på elgitarr. Tobias Grenholm stod för mixningen. För <em>Spår 2</em> står jag för arrangemang och produktion utan ytterligare medverkande. <em>Spår 2</em> inkluderar även vissa element från originalversionen av låten, framför allt perkussiva.</p><p><em>”Ljudfil 3 - En referens till live-musiker”</em> är även det en sammanställning av flera utdrag för en live-produktion. Produktionen är en kombination av element från originalversionerna på respektive låt och tillägg som jag har arrangerat och producerat.</p><p></p>
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En kartläggning av regiassistenters roll under tv- respektive filmproduktion. / A survey of the Assistant Directors role in the making of a TV- or film production.Olofsson, Jenny January 2017 (has links)
This dissertation is a degree project for a bachelor's degree at Media Producer Education, 180 credits, Umeå University. The study is about identifying and describing how the assistant roles differ from first, second and third and how the work is structured and distributed during a television and film production in Sweden, the United States and England. The study also shows the similarities and differences that exist between the countries. The report is initiated with a part in which the background to the study and the questions that gave rise to the study are presented. Then the method chosen for the study is presented. Through participation in a television drama production, interviews and literature studies have research material has been collected for the study. The conclusion of the study shows that in the United States and England the AD professions and what they include are pretty much the same, However, it differs in Sweden. In Sweden, the role of First AD is the same as in the United States and England, but the others have become more optimized to suit Swedish television or film production. In Sweden, the United States and England the First AD is the directors right hand person and the link between the crew and the director. The first AD is the one who controls the recording site and its main task is to lead and coordinate the film team and support the director in its work. A Second AD in the United States and England works directly under the First AD and acts as his or hers the right hand person. The second AD’s main task is to ensure that the First AD's directives is performed in time and by the right person, that the schedule for actors is held and put together every recording day's call sheet. In Sweden, the Second AD can act as the First AD right hand person, or have responsibility for the background actors. Then the Second AD under pre-production books extras for each scene, schedules costume tests and during production, the second AD has responsibility for the extras and directs the extras according to the director's wishes. In the United States and England the third AD works directly under the First AD and the Second AD and its main responsibility is to assist the First AD and Second AD. The Third AD is also the one that has the responsibility for the background actors. In Sweden, the Third AD works directly under the First AD and Seond AD, if the Second AD isn’t in charge of the background actors. However if the Second AD is in charge of the Extras, then the Third AD works closer to the first AD and fills up for the responsibilities that the Second AD would otherwise have. / Rapporten är ett examensarbete för en kandidatexamen vid Medieproducentutbildningen, 180 hp, Umeå Universitet. Studien handlar om att identifiera och beskriva hur regiassistentrollerna skiljer sig ifrån först, andra och tredje och hur arbetet struktureras och fördelas under en tv-produktion respektive filmproduktion i Sverige, USA och England. Studien visar även på de likheter och olikheter som finns mellan länderna. Rapporten inledes med en del där bakgrunden till studien och de frågeställningar som legat till grund för studien presenteras. Därefter presenteras metoden som valts för studien. Genom praktiskt deltagande i en tv-dramaproduktion, intervjuer och litteraturstudie har det samlats in underlag till studien. Resultatet av studien visar på att mellan USA och England skiljer sig yrkesrollerna och vad de innefattar nästintill ingenting, dock skiljer sig Sverige ifrån USA och England. I Sverige är FAD:ens roll den samma som i USA och England men de övriga har blivit mer optimerade för att kunna passa svensk tv-eller filmproduktion. I USA, England och Sverige är FAD:en regissörens högra hand och hen fungerar som en länk mellan filmteamet och regissören. FAD:en är den som styr inspelningsplatsen och dess viktigaste uppgift är att leda och koordinera filmteamet och stödja regissören i dess arbete. SAD:en I USA och England arbetar direkt under FAD:en och fungerar som hens högra hand. Dess huvuduppgifter är att se till att FAD:ens direktiv utförs i tid och av rätt person, att tidsplanen för skådespelare hålls och att göra i ordning varje inspelningsdags Call sheet, dagbesked. I Sverige kan SAD:en fungera som FAD:ens högerhand eller vara statistansvarig. Som statistansvarig arbetar SAD:en under förproduktion med att boka statister för varje scen, att styra upp mask och kostymprovningar. Under produktion har SAD:en ansvaret för att statisterna och SAD:en regisserar statisterna efter regissörens önskemål. I USA och England arbetar TAD:en direkt under FAD:en och SAD:en och dess huvudansvar är att assistera FAD:en och SAD:en. Ett huvudansvar som faller på en TAD i USA och England är att vara statistansvarig. I Sverige arbetar TAD:en direkt under FAD:en och SAD:en, om SAD:en inte fyller rollen som statistansvarig. Fyller däremot SAD:en rollen som statistansvarig, arbetar TAD:en närmare FAD:en än vad den gör SAD:en. TAD:en fyller då ofta upp för de funktioner som SAD:en annars skulle haft.
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A Comprehensive Analysis of the Legal Issues Relating to Nominee DirectorsSekouti, Sarah Samara 09 1900 (has links)
Dans la foulée des scandales financiers ayant secoué le milieu des affaires ces
dernières années, l’efficacité des pratiques de régie d’entreprise, et, en particulier
celles liées à l’indépendance des administrateurs, a été passée au crible.
L’administrateur désigné par une partie pour la représenter est un type
d’administrateur que l’on rencontre fréquemment au sein des conseils
d’administration des entreprises. Toutefois, l’on peut se questionner sur
l’indépendance réelle de ces administrateurs, considérant leur loyauté envers la
personne les ayant désignés, laquelle détient habituellement un intérêt à titre
d’actionnaire ou de partie prenante dans l’entreprise visée. En outre, alors que les
principes légaux requièrent que les administrateurs agissent dans le meilleur intérêt
de l’entreprise, la réalité pratique est parfois toute autre: aux prises avec les
instructions ou les souhaits de la personne les ayant nommés, les administrateurs
désignés se retrouvent placés en situation inhérente de conflit d’intérêts.
Ce texte vise à offrir une analyse détaillée au sujet de l’administrateur désigné et du
conflit d’intérêts résultant de cette double exigence de loyauté. L’objectif est de
présenter un examen approfondi des diverses difficultés résultant de la nomination
d’un administrateur désigné ou associées à celle-ci, ainsi que des réponses
judiciaires et législatives liées à cette problématique. Cette réflexion mènera à une
exploration de certains systèmes législatifs et légaux, en particulier ceux du
Royaume-Uni, de l’Australie et de la Nouvelle-Zélande, afin d’obtenir une
meilleure compréhension et d’offrir une perspective éclairée quant aux enjeux
analysés par la présente. / Following the wave of corporate scandals that have surfaced over the past decade,
significant attention has been showered on the efficiency of corporate governance
practices, with particular scrutiny on the issue of director independence. One
specific category of directors frequently nominated to sit on corporate boards is the
nominee director. However, these directors often lack veritable independence
given their extraneous loyalty towards their appointer, usually either a shareholder
or stakeholder of the corporation. Furthermore, while legal principle requires that
all company directors exercise their statutory duties with a view to the best interests
of the corporation, in practice nominee directors are expected to follow the
instructions or wishes of their appointer, resulting in their inherent position of
conflict.
This text focuses on the nominee director and the conflict of interest resulting from
such director’s position of dual loyalty. Its objective is to provide a comprehensive
examination of the various difficulties arising from, and associated with the
appointment of nominee directors as well as the judicial and legislative responses
to these difficulties. In examining the various complications associated with
nominee directors, the legal framework in several foreign jurisdictions, particularly
the United Kingdom, Australia and New Zealand is also explored throughout this
text to provide further insight and perspective on the different issues analysed
herein.
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La estética de la obra sinfónica de Manuel Berná GarcíaGiner Tormo, María Consuelo 07 June 2003 (has links)
Esta tesis doctoral tiene como objetivo principal el estudio de las veintidós obras sinfónicas del compositor Manuel Berná, (Albatera, Alicante-España 22/ agosto/ 1915). Se subraya la importancia de su estilo propio, encuadrado en la armonía tonal alterada, que huye de la duplicación de la octava, prefiriendo sextas y séptimas alteradas. Asimila el impresionismo, con gran dominio del color de la orquesta; el puntillismo, donde tienen valor las notas individualmente, fragmentando mucho las melodías; y el simbolismo, buscando la representación de la esencia del objeto o la psicología del personaje. Esto unido a una mentalidad contemporánea, elevando la música popular a la categoría de sinfónica. Predomina el tono sobre el modo: dentro de la politonalidad e incluso de una pantonalidad, aportando la idea estética de la influencia del semitono.Atento a las nuevas corrientes, vivo ejemplo de tenacidad, sabiendo evolucionar y aportar su estética a futuras generaciones, como compositor clásico. - / The aim of this thesis is to study the twenty-two symphonic works of the composer Manuel Berná, (born Albatera, Alicante, Spain, 22/08/1915).It emphasises the importance of his style within the framework of altered tonal harmony, which avoids doubling the octave, rather using altered sixths and sevenths. It assimilates Impressionism with its command of the orchestral colours; Pointillism, in which every note has equal importance, producing fragmentation in the melodies; and Symbolism, with its search for the representation of the essence of the objects or the psychology of the characters. These techniques and his contemporary mentality raise Popular Music to the category of Symphonic Music. Key takes precedence over mode within polytonality and even pantonality, contributing the aesthetic idea of influence of the semitone. As a classical composer, he was up to date with new trends, a living example of tenacity, evolving and contributing his aesthetics to new generations.
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