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Over the last ten years, increasing attention has been given to employees' displays of emotions to customers during service transactions and particularly to how organisations try to control these emotional displays (Adelmann, 1989; Ashforth & Humphrey, 1993; Hochschild, 1983; Rafaeli & Sutton, 1987, 1989; Wharton & Erickson, 1993). The act of expressing organisationally‐desired emotions during service interactions has been labelled emotional labour (Ashforth & Humphrey, 1993; Hochschild, 1983). The issue in emotional labour research which has received the most focus has been “emotional dissonance”, that is, the state of discomfort generated in employees when they have to express emotions which they do not genuinely feel (Middleton, 1989). In large part, this attention to emotional dissonance has been based on the potential negative consequences that emotional dissonance can have for workers psychological well being (Hochschild, 1983; Erickson, 1991; Rafaeli & Sutton, 1987; Wharton, 1993). This study seeks to extend previous empirical research on when emotional dissonance is most likely to result in these negative consequences and, especially, the importance of role internalisation as a mediating variable in the emotional dissonance‐psychological well‐being relationship.

The purpose of this paper is to describe a project designed with the aim of developing a black and green tea processing technology for Nigerian farmers and evaluate the conformance of the quality of the processed tea to the recommended international standard.

Locally processed and graded black teas were collected from Kakara and Bangoba for analysis. Different grades analyzed were Dust 1, Pekoe fanning (PF), broken pekoe (BP) and Fibre. Green tea was also processed from 21 tea clones selected from the Cocoa Research Institute, Kusuku Station tea plantation located at 1,840 m above mean sea level and analyzed for quality characteristics. The methods used for the quality of black and green teas analysis were in accordance with ISO standard: ISO 9768 method (revised) was used for determining % water extract, ISO 5498 for crude fibre, ISO 1575 for % total ash, and ISO 1577 for acid insoluble ash. Other additional quality parameters evaluated for black tea were theaflavins (TF), thearubigins (TR) and colour brightness (C Br) from another set of 17 clones using flavonost methods. Conformance to ISO standard were assessed in all tea locally processed by the farmers, in comparison to the ones processed under controlled conditions.

The results obtained in this study revealed that 59.2 per cent of the tea analyzed conformed to ISO 9768, 81.5 per cent to ISO 5498, 77.8 per cent to ISO 1575 and 96.3 per cent to ISO 1576 and 100 per cent conformed to ISO 1577 and 85.2 per cent to ISO 1578 respectively. In all, only 33 per cent of the processed tea conformed to international standard for black or green tea physical parameters. As for black tea, clones which conformed to correct TF, TR, CBR are UNK, 367, 19, 74, 354, 368, 369, 353, 357, 143, 14 and 108 respectively.

The paper shows that production of green tea and black tea can be done locally without loss of quality if good manufacturing practices and hygiene practices are followed.

The use of clonal materials sourced locally that conformed to ISO standard from Nigeria could create new products (black and green tea) with high economic values to the farmers.

IT WAS ONLY A SHORT TIME AGO, when an interview with the local press brought out the fact that the joint bibliothécariat of my predecessor and myself spanned a period of almost eighty years, that I began to feel really old, and to look back to the time of my entry into the library profession as a part‐time assistant, while I was still at school.

This chapter is a position paper that explores issues relating to the design of new digital technologies that could enable even nonmusicians to create music they find meaningful and through which they can express their unique musical personality. We first propose criteria for evaluating the musical effectiveness of new tools, and then present a simple cognitive model to help explain key issues related to how humans are able to create and experience music. On this basis, we derive a set of guiding principles towards designing a new generation of tools that support creation. A major theoretical and practical challenge we raise is the need to bridge between mind and tool – that is, between the creator’s intents, which represent subjective musical experiences, and the computational formalisms required by digital tools in order to realize them. We also discuss the need for deep personalization on the levels of concepts, tools, and workflow. We finally propose components for a common framework that will enable the design of a new generation of tools that can explore many different approaches for expanding the bounds of personal creative expression

The Institute of Manpower Studies (IMS) was established because of a widespread belief that there was a need for a national centre of practical knowledge and experience of the manpower field; it would be available to all those working on manpower problems, particularly in employing organisations. It was thought that it should be possible to develop techniques and approaches of general applicability to those interested.