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How Shop Environment Including Layout and Music Can Out- Power the Price of Items Sold?
Asian Journal of Business and Management (ISSN: 2321 - 2802) Volume 02 – Issue 02, April 2014 How Shop Environment Including Layout and Music can Out- power the Price of Items Sold? Beatrice Ng Miin Wei1, Rashad Yazdanifard2 1Center of Southern New Hampshire University Programs HELP College of Arts and Technology, Kuala Lumpur, Malaysia. E-mail: beatricebarbie {at} hotmail.com 2Center of Southern New Hampshire University Programs HELP College of Arts and Technology Kuala Lumpur, Malaysia E-mail: rashadyazdanifard {at} yahoo.com _______________________________________________________________________________________________ ABSTRACT--- Music can become a very powerful marketing tool if used in the right way and at the right time. This is why in this paper we will be looking at how music can influence one’s purchasing behaviour. This is because music is able to influence one’s mood. Furthermore there are some benefits to playing music in stores. Plus there are certain types of music for certain target market and in this paper, it will be revealed which type of market prefers what type of music. Also the age of the customer and the type of music being played in the store also has a relationship. Music can also lead to an increase in one’s sales level. The type of music is important and so are the tempo, pitch and volume of the music. Besides that, the store environment that includes a couple of features like the light and color of the store is rather important. Not to forget the layout of the store. The store environment and layout also plays a part in attracting and making sales for the store. -
Digital Video: Watch Me Do What I Say!
DOCUMENT RESUME ED 459 697 IR 021 056 AUTHOR Capraro, Robert M.; Capraro, Mary Margaret; Lamb, Charles E. TITLE Digital Video: Watch Me Do What I Say! PUB DATE 2001-10-00 NOTE 28p.; Paper presented at the Consortium of State Organizations for Texas Teacher Education (Corpus Christi, TX, October 14-16, 2001). PUB TYPE Reports Research (143) Speeches/Meeting Papers (150) Tests/Questionnaires (160) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS Educational Technology; Higher Education; Instructional Materials; *Interactive Video; *Lesson Plans; Material Development; *Metacognition; Methods Courses; *Preservice Teacher Education; *Professional Development; *Teaching Methods IDENTIFIERS Digital Technology ABSTRACT This paper establishes a use for digital video in developing preservice teacher metacognition about the teaching process using a lesson plan-rating sheet as a guide. A lesson plan was developed to meet the specific needs of the methods instructors in a professional development program at a large public institution. The categories listed on the lesson planning document are: Instructional Objectives; State Objectives; Materials; Background Information; Learning Environment; Focus; Teaching Procedure; Explanation and Practice; Elaboration; Closure; and Assessment. After a semester of using the document, several of the methods instructors believed that preservice teachers were not successfully engaging in lesson planning and not displaying thought processes conducive to cogent, sequential, and organized lesson development. This need precipitated the development of a lesson plan-rating sheet. The lesson plan-rating sheet is based on the original lesson plan form with the addition of indicators. Those indicators are intended to focus the rater's attention on the details of lesson planning and to act as a tool to encourage discourse surrounding effective lesson planning and delivery of instruction in a mathematics methods course. -
Marc Brennan Thesis
Writing to Reach You: The Consumer Music Press and Music Journalism in the UK and Australia Marc Brennan, BA (Hons) Creative Industries Research and Applications Centre (CIRAC) Thesis Submitted for the Completion of Doctor of Philosophy (Creative Industries), 2005 Writing to Reach You Keywords Journalism, Performance, Readerships, Music, Consumers, Frameworks, Publishing, Dialogue, Genre, Branding Consumption, Production, Internet, Customisation, Personalisation, Fragmentation Writing to Reach You: The Consumer Music Press and Music Journalism in the UK and Australia The music press and music journalism are rarely subjected to substantial academic investigation. Analysis of journalism often focuses on the production of news across various platforms to understand the nature of politics and public debate in the contemporary era. But it is not possible, nor is it necessary, to analyse all emerging forms of journalism in the same way for they usually serve quite different purposes. Music journalism, for example, offers consumer guidance based on the creation and maintenance of a relationship between reader and writer. By focusing on the changing aspects of this relationship, an analysis of music journalism gives us an understanding of the changing nature of media production, media texts and media readerships. Music journalism is dialogue. It is a dialogue produced within particular critical frameworks that speak to different readers of the music press in different ways. These frameworks are continually evolving and reflect the broader social trajectory in which music journalism operates. Importantly, the evolving nature of music journalism reveals much about the changing consumption of popular music. Different types of consumers respond to different types of guidance that employ a variety of critical approaches. -
Westminster CO - Results Overalls Award ROUTINE TITLE STUDIO NAME
Westminster CO - Results Overalls Award ROUTINE TITLE STUDIO NAME President’s Award I KNOW ALL WHAT I DO Revolution Dance Academy National WHEN SHE CAME BACK Revolution Dance Academy Director’s Award Choreography Award I KNOW ALL WHAT I DO (Estrella Helen, & Freehling, Antonia) Revolution Dance Academy Choreography Award WHEN SHE CAME BACK (Leon, Kevin) Revolution Dance Academy Overall Small Fry THE BIG DOLL HOUSE Colorado School of Dance Group/Line Overall Junior BYE BYE BLACKBIRD Bella Danze Artz Group/Line Overall Pre-Teen HANGING BY A THREAD Revolution Dance Academy Group/Line Overall Teen WILD HEARTS (I KNOW ALL WHAT I DO – President Award) Revolution Dance Academy Group/Line Regional Title Winners TITLE ROUTINE TITLE / DANCER STUDIO NAME Small Fry Miss DEA FAITH (SOPHIA FREEMAN) Colorado School of Dance Junior Miss DEA LOVE RUNS OUT (ALESSA FRANKS) Colorado School of Dance Pre-Teen Miss DEA YOU CAN DO ANYTHING (NICOLE HAMILTON) Revolution Dance Academy Teen Miss DEA WHEN SHE CAME BACK (ELIZABETH SALVADOR) Revolution Dance Academy Miss DEA DROPS OF JUPITER (ABBY RICH) Airborne Dance Scholarship Winners SCHOLARSHIP DANCER STUDIO NAME National Workshop Abby Rich Airborne Dance National Workshop Alessa Franks Colorado School of Dance National Workshop Alicia Bohren Airborne Dance National Workshop Alicia King Airborne Dance National Workshop Brynn Cooper Colorado School of Dance National Workshop Chandler Isom Airborne Dance National Workshop Cheyenne Wilson Revolution Dance Academy National Workshop Claira Watson Colorado School of -
``Sweet Saturday Night'': British Music Hall and the First World
“Sweet Saturday Night”: British Music Hall and the First World War John Mullen To cite this version: John Mullen. “Sweet Saturday Night”: British Music Hall and the First World War. Michelle Mein- hart. A Great Divide or a Longer Nineteenth Century? Britain, Music and the First World War, Routledge, 2020. hal-02428209 HAL Id: hal-02428209 https://hal-normandie-univ.archives-ouvertes.fr/hal-02428209 Submitted on 5 Jan 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. ‘Sweet Saturday Night’: British Music Hall and the First World War John Mullen University of Rouen, research team ERIAC Rupture and continuity are the bread and butter of the historian’s sandwich. Neither is, generally speaking, absent from a given historical earthquake, but they may be present in many different forms. The Great War as ‘great divide’ has been explored in the historiography in a number of manners. For Arthur Marwick,1 the war was ‘The Deluge’, and this biblical image was chosen to suggest the irrevocable social changes (sometimes positive, he felt) brought about by the conflict. For Paul Fussell,2 the war was a moment of enduring transformation of aesthetic modes of expression: the experiences of the canonical creative minds of that generation, he claims, led to their rejecting of the old, Romantic ways of seeing the world. -
Mapping Social Dialogue in the Commercial Live Performance Sector in Bulgaria, Czechia, Poland, Romania and Serbia
Annex 3. Country report: Poland Mapping social dialogue in the commercial live performance sector in Bulgaria, Czechia, Poland, Romania and Serbia Agnieszka Paczyńska March 2021 With the financial support of the European Commission Mapping social dialogue in the commercial live performance sector in Bulgaria, Czechia, Poland, Romania and Serbia Table of contents Executive summary 3 Introduction 6 Commercial live performance sector: a brief overview 7 Size 8 Key characteristics 9 Organisations 10 Individual performers 11 Business models 12 Social dialogue in the commercial live performance sector 16 Existing social partners 17 Other forms of self-organisation 19 Social dialogue - state of play 20 Key barriers to dialogue 20 What could stimulate dialogue? 21 The dialogue topics most important to stakeholder 23 The Covid-19 crisis and social dialogue 24 Recommendations: social dialogue for a stronger live performance sector 27 Annexes Country report: Bulgaria 31 Country report: Czech Republic 60 Country report: Poland 75 Country report: Romania 93 Country report: Serbia 113 This publication reflects only the author’s view, and the European Commission is not responsible for any use that may be made of the information it contains. Project number: VS/2019/0014 Executive summary This report maps the social dialogue situation in the commercial live performance sector in five European countries: Bulgaria, Czechia, Poland, Romania and Serbia. The sector covers all music, theatre, dance, circus and similar live performance activities run by private for-profit or not-for- profit entities operationally not fully dependent on the public sector even if partly rely on public subsidies. Precise statistics on the size of the sector in question are not available but existing data point to employment totalling around 100,000 in the five countries, while the number of entities concerned by far exceeds that of public institutions in the sector. -
Music Industry Report 2020 Includes the Work of Talented Student Interns Who Went Through a Competitive Selection Process to Become a Part of the Research Team
2O2O THE RESEARCH TEAM This study is a product of the collaboration and vision of multiple people. Led by researchers from the Nashville Area Chamber of Commerce and Exploration Group: Joanna McCall Coordinator of Applied Research, Nashville Area Chamber of Commerce Barrett Smith Coordinator of Applied Research, Nashville Area Chamber of Commerce Jacob Wunderlich Director, Business Development and Applied Research, Exploration Group The Music Industry Report 2020 includes the work of talented student interns who went through a competitive selection process to become a part of the research team: Alexander Baynum Shruthi Kumar Belmont University DePaul University Kate Cosentino Isabel Smith Belmont University Elon University Patrick Croke University of Virginia In addition, Aaron Davis of Exploration Group and Rupa DeLoach of the Nashville Area Chamber of Commerce contributed invaluable input and analysis. Cluster Analysis and Economic Impact Analysis were conducted by Alexander Baynum and Rupa DeLoach. 2 TABLE OF CONTENTS 5 - 6 Letter of Intent Aaron Davis, Exploration Group and Rupa DeLoach, The Research Center 7 - 23 Executive Summary 25 - 27 Introduction 29 - 34 How the Music Industry Works Creator’s Side Listener’s Side 36 - 78 Facets of the Music Industry Today Traditional Small Business Models, Startups, Venture Capitalism Software, Technology and New Media Collective Management Organizations Songwriters, Recording Artists, Music Publishers and Record Labels Brick and Mortar Retail Storefronts Digital Streaming Platforms Non-interactive -
Music Week 5
Music Week 5 ***New lessons on p. 2 and 3 every week Music - [email protected] ( please email if you have any questions, hours of availability are 1:00-3:00pm) If you would like to speak directly, please leave a phone number and good time to call in your email. Parent email/phone number only. Please choose one song or activity each week, you may do more if you like, but only one is required for their music special. 1. Safe YouTube sing a long of our favorite church songs – New songs every week I will be making several YouTube videos of our favorite church song. Please google the title for lyrics. https://safeYouTube.net/w/hcp8 I will follow https://safeYouTube.net/w/LKp8 Seed, Scattered and Sown https://safeYouTube.net/w/2Mp8 Good, Good Father https://safeYouTube.net/w/mOp8 Oceans https://safeYouTube.net/w/PmE6 O Come to the Altar https://safeYouTube.net/w/eoE6 The cry of the poor https://safeYouTube.net/w/kpE6 Bless the Lord (10,000 Reasons) https://safeYouTube.net/w/rqE6 Alabare 2. Rhythmic pieces with non-pitched percussion. (1-5) https://safeYouTube.net/w/Lfp8 The Washington Post March – play a long https://safeYouTube.net/w/Lkp8 William Tell Overture – play a long 3. Body percussion – Snap, clap, pat, step. https://safeYouTube.net/w/IEp8 Alpha three 4. Song composition - You create new lyrics to a familiar tune. https://safeYouTube.net/w/cSp8 - Song example – Mother’s day song You are my Mommy, my dear sweet Mommy. I want to thank you in every way. -
Money for Something: Music Licensing in the 21St Century
Money for Something: Music Licensing in the 21st Century Updated February 23, 2021 Congressional Research Service https://crsreports.congress.gov R43984 SUMMARY R43984 Money for Something: Music Licensing in the February 23, 2021 21st Century Dana A. Scherer Songwriters and recording artists are generally entitled to receive compensation for Specialist in (1) reproductions, distributions, and public performances of the notes and lyrics they create (the Telecommunications musical works), as well as (2) reproductions, distributions, and certain digital public Policy performances of the recorded sound of their voices combined with instruments (the sound recordings). The amount they receive, as well as their control over their music, depends on market forces, contracts between a variety of private-sector entities, and laws governing copyright and competition policy. Who pays whom, as well as who can sue whom for copyright infringement, depends in part on the mode of listening to music. Congress enacted several major updates to copyright laws in 2018 in the Orrin G. Hatch-Bob Goodlatte Music Modernization Act (MMA; P.L. 115-264). The MMA modified copyright laws related to the process of granting and receiving statutory licenses for the reproduction and distribution of musical works (known as “mechanical licenses”). The law set forth terms for the creation of a nonprofit “mechanical licensing collective” through which owners of copyrights in musical works could collect royalties from online music services. The law also changed the standards used by a group of federal administrative law judges, the Copyright Royalty Board, to set royalty rates for some statutory copyright licenses, as well as the standards used by a federal court to set rates for licenses to publicly perform musical works offered by two organizations representing publishers and composers, ASCAP and BMI. -
ASP.NET MVC Music Store Tutorial Version 3.0B
ASP.NET MVC Music Store Tutorial Version 3.0b Jon Galloway - Microsoft 4/28/2011 http://mvcmusicstore.codeplex.com - Licensed under Creative Commons Attribution 3.0 License. ASP.NET MVC Music Store Tutorial Contents Overview .....................................................................................................................................................................4 1. File -> New Project ..................................................................................................................................................9 Installing the software ............................................................................................................................................9 Creating a new ASP.NET MVC 3 project .............................................................................................................. 11 2. Controllers ........................................................................................................................................................... 15 Adding a HomeController .................................................................................................................................... 15 Running the Application ...................................................................................................................................... 17 Adding a StoreController ..................................................................................................................................... 19 3. Views and Models............................................................................................................................................... -
Best Online Record Store
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MUSIC, ENTERTAINMENT and INFORMATION INDUSTRIES Music Press Radio, TV, film and Advertising Theatre and Dance Sector
RELATED MUSIC, ENTERTAINMENT AND INFORMATION INDUSTRIES Music press Radio, TV, film and advertising Theatre and dance sector CORE ACTIVITIES Live performance Production and sale of sound recordings RELATED ACTIVITIES Administration of copyright in composition and recordings Art and creative studios TELECOMMUNICATION AND IT Manufacturing of audio hardware Music on demand Manufacture and distribution of Music games musical instruments Internet music sales PR companies Multimedia music Jingle producers Virtual music networks Photographers music 067 SECTION.09 MUSIC Thsi anayss l i covers the core musci busness i activiti es of live performances, the productoni and sa le of sound recordngsi and prntedi musc, i and the admini straton i of copyrghti in compos iti ons iand recordngs.iand 068 SECTION.09 MUSIC INDUSTRY REVENUES Value of Sales (£m) 1800 Retail Sales 1600 1400 1200 1 1000 Trade Deliveries 800 600 400 200 0 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 Note 1 Trade deliveries are sales by record companies to retailers which exclude Estimated Value Added 1995 VAT and retailers’ margins Live Performance: Rock and Pop £300.0m Live Performance: Classical, etc. £146.0m Other Artists’ Earnings (including record royalties – UK and overseas, etc) £525.0m Opera and Musical Theatre £120.0m Recording: Record Companies £317.0m Studios £17.4m Producers £14.0m Manufacturers £67.0m Music Publishing £85.5m Collection Societies £23.3m Retailing and Distribution £334.1m Managers, Agents and Promoters £132.0m Total £2,081.3m Note Total Value Added excludes spending on Musical Instruments (Production, Distribution Estimated Consumer Expenditure 1995 and Retailing) and Education and Training Consumer Expenditure2 £2.4bn Private Corporate Expenditure (including sponsorship) £168.0m Public Sector Expenditure (including the BBC)3 £198.0m Total £2.6bn Note 2 Includes admissions to live Total revenues of the music industry in 1995 were £3.6bn.1 performances and purchases of sound recordings (new and secondhand) and printed music.