International programmes, namely Framework Programmes 6, 7, and European Research Cooperation Agency (EUREKA), aim supporting national Small and Medium Scale Enterprises (SMEs) to subcontract their research needs to Research and Technological Development (RTD) performers. Main objective of this thesis is to measure level of success of knowledge transfer from RTD performers towards Turkish SMEs within the FP6, FP7 and EUREKA. The thesis proposes a model for knowledge transfer consisting of four stages: initiation, implementation, elaboration, and internalization. Extensive data is collected from sixty projects involved in these programmes via structured survey. The data is analyzed within the context of the proposed model via using the variables selected from the literature. Main findings show that the initiation stage is at a satisfactory level. The national SMEs continue learning from the international partners while they practice the knowledge they acquire, therefore, necessary support should be given to national SMEs to communicate as much as possible in order to receive as much knowledge as possible from their international partners, during implementation process. Level of absorptive capacity is indispensable for elaboration. Therefore, much effort is required to strengthen absorptive capacity of national SMEs. Internalization is the weakest stage. If internalization is not successfully achieved, it is hardly possible to sustain and systematize the knowledge. All stages are mutually exclusive. If the initiation is not based on real needs and expertise of the SMEs, implementation will fail. It will be difficult to elaborate on the knowledge / therefore, improvement of the knowledge will not be at expected level. Since the improvement will not be sustained, internalization of the knowledge will be less, which will undermine successful transfer.

During the 1980s, women in country music enjoyed unprecedented success in record sales, television, film, and on pop and country charts. For female performers, many of their achievements were due to their abilities to mold their images to mirror American norms and values, namely increasing political conservatism, the backlashes against feminism and the civil rights movement, celebrations of working and middle class life, and the rise of the South. This dissertation divides the 1980s into three distinct periods and then discusses the changing uses of gender, race, class, and region in female country music and links each to larger historical themes. It concludes that political and social conservatism influenced women’s country performances and personas. In this way, female country music is a social text that can be used to examine 1980s America.

Muzikos ir muzikos atlikėjų marketingas internetu. Internetinės muzikos platinimo ir atlikėjų informacijos sklaidos terpės, jų naudojimo iššūkiai ir teikiamos galimybės. Skaitmeninės muzikos vartojimo įpročiai ir piratavimo reiškinio tyrimas. Tradicinės ir naujosios medijos informacijai bei muzikai skleisti. / Music Performers' Marketing Over Internet: Challenges and Opportunities.

Darbo tema – atlikėjų teisių kolektyvinis administravimas. Dabartis ir perspektyva. Atlikėjų teisių apsauga yra palyginti naujas reiškinys. Atlikėjų teisių atsiradimas siejamas su XX a. pradžioje atsiradusiomis naujomis technologijomis, leidusiomis gyvus atlikimus pakeisti atlikimo įrašais. Atlikėjai siekė kontroliuoti savo atlikimus ir reikalavo teisių šiems atlikimams apsaugoti. Atlikėjų teisės yra fundamentalios. Jomis ne tik užtikrinama atlikėjų turtinių interesų apsaugą, šios teisės taip pat skatina ir palaiko kūrybingumą bei bendrą visos visuomenės kultūros raidą. Nemažai nacionalinių ir tarptautinių teisės aktų garantuoja atlikėjams jų teises. Svarbiausi iš jų: 1961 m. Romos konvencija, 1996 m. PINO Atlikimų ir fonogramų sutartis bei ES direktyvos. Atlikėjų teisių kolektyvinio administravimo organizacijos – tai jų narių (teisių turėtojų) įsteigtos, dažniausiai pelno nesiekiančios organizacijos. Pagrindinis šių organizacijų tikslas yra surinkti ir paskirstyti teisių turėtojams priklausanti atlyginimą už įvairių jų turtinių teisių panaudojimą. Darbo tikslas – atsižvelgiant į istorines raidos aplinkybes, išsamiai išanalizuoti dabartinį atlikėjų teisių kolektyvinio administravimo reglamentavimą tiek tarptautiniu, tiek regioniniu lygiu. Remiantis analize atsakoma į klausimą ar atlikėjų teisių reglamentavimas bei šių teisių kolektyvinis administravimas šiandieninėje situacijoje yra pakankamas atlikėjų turtiniams interesams apsaugoti. Siekiant tikslo darbe analizuojamas... [toliau žr. visą tekstą] / The topic of this paper is Collective Management of Performers' Rights. Nowadays and Future Perspective. The issue of the performers' neighbouring rights is relatively new. It emerged at the beginning of the twentieth century, particularly as a result of technical developments when recordings began to be substitute for live performances. Performers have sought to keep control of their performances by claiming rights to protect them. These rights are fundamental: they secure not only an ingome for performers but also foster the maintenance and the development of creation and culture in the interest of society as a whole. Many national laws and certain international normative texts (Rome Convention of 1961, WIPO Performances and Phonograms Treaty of 1996 and European Directives) Performers collecting societies are associations of rightholders. They are set up to collect and distribute royalties for rightsholders on a collective basis. Collective management societies of performers are generally non profit organisations based on collective agreements in certain cases. The goal of this paper is a thorough analysis of current regulation of performers rights' collective administration in both international and regional levels taking into consideration the circumstances of historical development. Based on the analysis it will answer the question whether the regulation and collective administration of performers' rights today is sufficient to protect performers' financial interests... [to full text]

Bakalauro darbas „Muzikavimo saksofonu ypatumai interpretacinės raiškos galimybių kontekste“ parengtas 2011 metais. Tyrimo objektas – muzikavimo saksofonu ypatumai. Tyrimo tikslas – išanalizuoti muzikavimo saksofonu ypatumus muzikos mokyklose. Tyrimo uždaviniai: atskleisti saksofono ypatumus, apibūdinti žymiausius saksofono muzikos atlikėjus, išsiaiškinti saksofonu atliekamas muzikos rūšis, išanalizuoti metodines rekomendacijas ir interpretacijos ypatumus, aprašyti meninį projektą. Mokant groti mokinius saksofonu mokytojai dažniausiai vadovaujasi savo susikurtomis metodikomis bei pūtikams skirtomis metodinėmis rekomendacijomis, kadangi lietuviškoji pučiamųjų instrumentų pedagogika kenčia nuo daugybės įvairiausių problemų, kurios dažniausiaiįvardijamos kaip literatūros (natų) stoka, nepakankama techninė bazė (stokojama kokybiškų instrumentų), neparengta išsami muzikavimo saksofonu metodika ir programa. Atlikus teorinių šaltinių analizę ir įgyvendinus meninį projektą galima išskirti svarbiausius grojimo saksofonu aspektus: taisyklingą kvėpavimą, laikyseną, tinkamą rankų poziciją. Muzikos pedagogai profesinėje veikloje turėtų atkreipti dėmesį į šiuos aspektus ir papildydami mokymo procesą specifinio pobūdžio didaktinėmis rekomendacijomis, siekti kokybiško muzikavimo. Saksofonas yra muzikos instrumentas, kuriuo atliekama muzika gali būti laisvai interpretuojama, nes saksofonas pirmiausia siejamas su džiazu, o džiazas dažniausiai suvokimas kaip improvizacijos ir interpretacijos... [toliau žr. visą tekstą] / The Bachelor’s Thesis „Peculiarities of playing the saxophone in the context of possibilities of interpretational expression” was prepared in 2011. Research object: peculiarities of playing the saxophone. The aim of the research: to analyze the peculiarities of playing the saxophone in music schools. Research objectives: to reveal the peculiarities of the saxophone, describe the most famous performers of the saxophone music, determine the types of music performed by the saxophone, analyze methodological recommendations and interpretational peculiarities and describe the art project. In the process of teaching students to play the saxophone teachers mostly follow their own developed methodology and methodological recommendations designed for the wind instrumentalists, because Lithuanian wind instrument education suffers from various issues that are mainly named as the lack of literature (notes), insufficient technical facilities (lack of qualitative instruments), unprepared explicit saxophone methodology and programs. Analysis of theoretical sources and implementation of the art project enables to distinguish the main aspects of playing the saxophone: right breathing, posture, correct hand position. Music teachers should pay attention to these aspects in their professional activities and aim at qualitative performance of music by adding specific didactic recommendations to the teaching process. Saxophone is a musical instrument that allows free interpretations of music as it... [to full text]

Thesis (M.A.)--University of Wyoming, 2008. / Title from PDF title page (viewed on August 6, 2009). Includes bibliographical references (p. 172-183).

This selective investigation of contemporary solo violoncello works written between 1980 and 2010 consists of 1075 works, listed in alphabetical order of country and in alphabetical order of composers of each relevant country. Due to the extensive nature of this field, this research only includes works by composers from eight European countries (Austria, Belgium, France, Germany, Italy, Netherlands, Spain and the United Kingdom), as well as Australia, Canada, New Zealand and South Africa. In my considered opinion, the European countries that have been selected are those with a very high musical culture and where composers are very active in this field. The musical life of the United States of America is so huge that it deserves a study of its own. Relevant information of each entry are added, including the approximate duration of each piece, the dedicatee, dates of first performances, recordings and addresses of websites of individual composers. The catalogue is followed by two appendices: one that lists the dedicatee in alphabetical order and the other that lists the works by their approximate duration. The study did not aim to examine the qualitative merits of every piece listed. The catalogue only includes original works for solo violoncello, and music exclusively written for beginner and intermediate levels has not been included. Works written for violoncello and piano, violoncello and orchestra and an amplified violoncello together with tape or electronic accompaniment are not included in this catalogue. These are subjects for further investigation and catalogue compilation. / Thesis (DMus)--University of Pretoria, 2013. / gm2014 / Music / unrestricted

This thesis builds upon the existing scholarship of theatrical historians such as Robert D. Hume, Judith Milhous and Jocelyn Powell, and seeks to broaden the notion of the term spectacle in relation to Restoration theatrical performances, as defined by Milhous as scenery, machinery, large cast sizes and music. By arguing that we should not see spectacle in Restoration theatre merely in terms of machinery and scenery, as some have done, but that it properly includes a wider range of elements, such as puppetry and performers, the thesis contends that spectacle on the Restoration stage was more of an integral aspect of theatrical development than previously thought. Through drawing on the wide aspects of theatrical presentation, including setting, stage use, mechanics, costumes and properties, puppetry and performers, this thesis examines how the numerous aspects of the Restoration performance, both in their singularity and as a collective, provided a performance driven by spectacle in order to create an appealing entertainment for its audience. In order to navigate and appreciate the complexity of theatrical performance in this period, the thesis has been divided into key aspects of theatrical presentation, each of which are argued to offer a variant of spectacle. The early chapters of this thesis relate to the material, or non-human, attributes of the stage to consider how the developing nature of performance was shaped by the use of extensive scenery, machinery, puppetry, and elaborate set pieces to provide much of the period s visual, scenographic and theatrical wonder. These chapters build on the definition for spectacle which has previously been used to examine Restoration performance. For the latter chapters, this thesis will shift its focus to consider the role of actresses and actors, to understand how they contributed to the broader impact of the stage, and how they developed in line with the material and mechanical advances. Finally, to demonstrate the collective impact of these elements of performance, the thesis concludes with a detailed exploration of Aphra Behn s The Emperor of the Moon (1687), examining the performative impact of her use of spectacle. In order to identify and support the re-examination of the term spectacle in relation to Restoration theatre, evidence will be drawn from a wide range of play scripts, surviving diary records, accounts, illustrations and newspaper articles. Additionally, the thesis explores a range of different practices, developments and literary and dramatic types, drawn from the English theatre and those European traditions which influenced it in order to provide a more representative examination of spectacle in the period. Importantly, the thesis s core purpose will be to demonstrate that the notion of spectacle is more central to Restoration theatre than is often believed.

Please read the abstract in the section 00front of this document / Dissertation (MMus (Musicology))--University of Pretoria, 2007. / Music / unrestricted

Adolescent subjective health and mental problems have become a public health concern, not only in Sweden but worldwide. When stress becomes a part of everyday life you tend to ignore it and disregard the fact that chronic stress is a severe disease. Education in the school system shall promote the development and learning of all pupils adapted to each of the individuals’ circumstances and needs. Research shows that high-performing students are especially at risk for chronic stress related malfunctioning.The overall aim of this thesis is to contribute to the understanding of the influence of mathematic education in developing stress among female high-performers in secondary school. Four 16-year-old girls were interviewed on their experience of math education,stress and the relations between the two. The findings show that how teachers carry out education has a great impact on the students’ well being, which in turn affects how they learn. The teacher holds the most important part. A growth mindset will push development from good to great. Skilled teachers can create rich mathematical problems for their students. Letting go of socio-mathematic norms focusing on fast-forward, are also important measures. Continued research should therefore focus on teacher-education. In pedagogical science there is a lack of psychology and the common approach of neuroscience to learning and child development. The subject of educational psychology is a mixture of neuroscience, psychology and pedagogy that is common in other parts of the world, but not in Sweden. Such knowledge, that is based on experiments linked to the brain functions, is important for understanding children's development and comparing methods for teaching. The two research fields need to learn more from each other. Didactics already provide perspectives to the student’s experiences and motivations and teachers need to use didactics as a useful tool in education. We face a real challenge; the group of high performing students’ long-term health is at risk. There might be a ticking bomb- Stress, and counting. / Våra ungdomars upplevda hälsa och psykiska problem har blivit ett folkhälsoproblem. Inte bara i Sverige utan världen över. När stress blir en del av vardagen finns en risk att vi ignorerar den och bortser från det faktum att kronisk stress är en allvarlig sjukdom. Vår utbildning i skolan skall främja alla barns och elevers utveckling och lärande. Den ska anpassas efter individens förutsättningar och behov. Forskning visar att högpresterande elever löper särskilt stor risk för kroniska stressymptom och åtföljande konsekvenser för bl. a. kognition, minne och inlärning. Studiens syfte är att bidra med kunskap om den roll matematikundervisningen spelar för stress bland högpresterande flickor.Fyra 16-åriga flickor intervjuades om sina erfarenheter av högstadiets matematikundervisning, stress och kopplingar mellan de två. Resultatet visar att hur läraren bedriver sin undervisning har en avgörande betydelse för hur studeterna mår, vilket i sin tur påverkar deras lärande. Läraren är den enskilt viktigaste framgångsfaktorn i klassrummet, även enligt internationell forskning. Ett dynamiskt synsätt kommer främja elevernas utveckling. Skickliga lärare kan konstruera rika matematiska problem som utvecklar elevernas matematiska förmågor. Att avskaffa socio-matematiska normer som fokuserar på att hinna längst fram i boken, är också en viktig åtgärd.Fortsatt forskning bör därför fokusera på lärarutbildning och vidareutbildning. Inom dessa utbildningar och pedagogiken saknas psykologins och neurovetenskapens gemensamma förhållningssätt till inlärning och barns utveckling. Det finns ett ämne, utbildningspsykolog,  som är vanlig i andra delar av världen. Här finns en fruktbar blandning av neurovetenskap, psykologi och pedagogik. Sådan kunskap baserad på experiment kopplade till hjärnans funktioner är viktig för att förstå barns utveckling och kunna jämföra metoder för undervisning och lärande. Didaktik och hjärnforskning behöver ömsesidigt lära av varandra.Vi står inför en viktig utmaning, i våra högpresterande ungdomars långsiktiga hälsa.  Tyvärr måste vi lära oss att Räkna med stress!