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The pace of adoption of distance-learning services has accelerated during the past few years due to more reliable equipment, lower costs, and better design of learning materials. Many new applications for distance learning emphasize low-end equipment with fewer bells and whistles, a new or extended use for an existing technology or network, interactive learning components, and new partnerships between public and private sector groups. In implementing new distance-learning applications, it is important to emphasize the service to be provided, not the technology that provides it. Further, teachers should be viewed as partners who are essential to the success of an application, not as enemies of technology. From a policy perspective, telecommunications may be viewed as a highway system that will serve a vital role in education and economic development during the next century. In order to construct a comprehensive highway system, it will be necessary to organize many existing telecommunications groups, such as public broadcasters, cable operators, and telephone companies.

Arguing that new distance-learning services have accelerated during the last few years, it is suggested that: new learning applications & components are more vital than ever; the service, rather than the technology, should be considered the integral part to education & economic development during the next century; & for telecommunications technology to be translated into effective policy, broadcasters, cable operators, & telephone companies will have to join forces. Adapted from the source document.

Musicologists have increasingly taken a wide-angled lens on the study of music in society, to explore how it can be intertwined with issues of politics, gender, religion, race, psychology, memory, and space. Recent studies of music in connection with society take in a variety of musical phenomena from diverse periods and genres-medieval, classical, opera, rock, etc. This ten-chapter book not only asks how music and society are, and have been, intertwined and mutually influential, but it also examines the agents behind these connections: who determines musical cultures in society? Which social groups are represented in particular musical contexts? Which social groups are silenced or less well represented in music's histories, and why?

Music and sound shape the emotional content of audio-visual media and carry different meanings. This volume considers audio-visual material as a primary source for historiography. By analyzing how the same sounds are used in different media contexts at different times, the contributors intend to challenge the linear perspective of (music) history based on canonic authority. The book discusses AV-Documents (analysis in context), methodological questions (implications for research, education, and popularization of knowledge), archives of cultural memory (from the perspective of Cultural Studies) as well as digitalization and its consequences (organization of knowledge).

A search of the psychological, technical, and promotional literature was conducted to compile information relevant to key, keyboard, and operator characteristics. The most recent and significant articles were discussed and evaluated. Where possible, general conclusions have been drawn to aid the keyboard designer.

Algorithms C (Heritage)Creative Villages: New York City and Los Angeles; Multicultural Urban Music Scenes; Walking Through Music History; Music Ecosystems and Branding; Music, Technology and Urban Communication; Issues Affecting the Music Cities of New York City and Los Angeles; Los Angeles's Urban Sprawl; Pay-to-Play Music in Los Angeles; Impact of Gentrification; New York Is Music; Role of Night Mayors in the US; Conclusion; References; Part III: Life; Chapter 6: Marvelous (Musical) Melbourne (1835 to 1980s); Introduction; Stage 1: Indigenous Times to 1880 (Gold Rush to Marvelous Melbourne)

The Celtic Twilight is an aesthetic movement in British culture that developed out of the more commonly known Irish Literary Revival. This dissertation traces the historical and literary origins of the movement and its transference into British music, culture, and discourse. It begins by considering the movement's origins and postulates that the aesthetic developed as a response to the popularity of James Macpherson's Ossian epics during the nineteenth century. These epics had popularized a brand of Celticism that was politically compromised in regards to the agenda of the literary Irish nationalists who guided the Revival. After a brief flirtation with heroic Ossianism in his poem The Wanderings of Oisin, W.B. Yeats, after becoming deeply involved in folklore editing and collecting, created his singular volume, The Celtic Twilight. This volume was as far from an 'authentic' collection of folktales as one might imagine, and yet it gave rise to an aesthetic that blended influences from folklore, symbolism, Wagnerism, the occult, and spiritualism, and it begged readers to seek out the liminal boundary between reality and the supernatural. It also brought the phrase 'Celtic Twilight' into popular discourse. While the Twilight aesthetic became an important touchstone for poets of the 1890s and beyond, British composers engaged with it somewhat later, and with uneven success. There were outright failures, but some excellent works emerged by Arnold Bax, Rutland Boughton, and Edward Elgar. Rutland Boughton's The Immortal Hour, based on a play by Twilight poet Fiona Macleod, blends all the essential elements of Celtic Twilight, and still holds the record for the most consecutive performances of an English opera. This dissertation seeks to illuminate a connection between the opera's Twilight character and the profound impression it made upon British post-war audiences. Finally, though Celtic Twilight inspired many artists, it was quickly appropriated into popular, non-artistic culture for the purpose of articulating racial discourses that are, by today's standards, unpleasant and unfortunate. This study hopes to revive the phrase 'Celtic Twilight,' not by denying its chequered history, but by offering it to readers in a scholarly light that, until the present time, has been unavailable.

The aim of this study was to perform a comprehensive investigation to document wrist and forearm postures of users of conventional computer keyboards. We instrumented 90 healthy, experienced clerical workers with electromechanical goniometers to measure wrist and forearm position and range of motion for both upper extremities while typing. For an alphabetic typing task, the left wrist showed significantly greater (p < .01) mean ulnar deviation (15.0° ± 7.7°) and extension (21.2° ± 8.8°) than the right wrist (10.1° ± 7.2° and 17.0° ± 7.4° for ulnar deviation and extension, respectively). Conversely, the right forearm had greater mean pronation (65.6° ± 8.3°) than the left forearm (62.2° ± 10.6°). We noted minimal functional differences in the postures of the wrists and forearms between alphabetic and alphanumeric typing tasks. Ergonomists should consider the statistically significant and probable practical difference in wrist and forearm posture between the left and right hand in ergonomic interventions in the office and in the design of computer keyboards. Actual or potential applications of this research include guiding the design of new computer keyboards.

Few disciplines are probably more different than music and accounting. Nonetheless possible suggestions about historiography in accounting and management can be drawn from an innovative textbook on the history of music [Favaro and Pestalozza, 1999]. This is a rather unusual music history textbook. It has several distinguishing features which raise issues about: histories of the present, history and theory making, a non-linear sense of history, a social history of music, a pluralist view of genres, and a multi-geographical emphasis. These features have interesting parallels with accounting history and historiography.