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Describes the way in which one UK organization has responded to theproblem of stress at work through the establishment of an in‐housecounselling service available without…
Describes the way in which one UK organization has responded to the problem of stress at work through the establishment of an in‐house counselling service available without charge to all employees. Describes the structure and mode of operation of the service, including the monitoring and evaluation process. Presents broad outcomes of the monitoring and evaluation and draws out some implications for good practice.
THE first number of a new volume of THE LIBRARY WORLD offers an occasion for brief retrospect and reflection. For seventeen years the magazine has appeared regularly, untrammelled by official connexion and presenting a catholic view of libraries and the library profession. It began its career at a time when discussions of methods such as open‐access, classified cataloguing, and even library bulletins, created an excitement which they rarely create now; and in these and all subsequent discussions THE LIBRARY WORLD has endeavoured to keep level with, or even in advance of, the best opinion of the day. The leading men in the profession—both living and dead—have contributed to these pages; and altogether the magazine has stood consistently for progress, for advanced methods, and for the importance and dignity of the librarian's office.
Our nation at last seems to be rousing herself to put forth her full strength, and the organisation of industry is receiving at the hands of the new National Government no less attention than the armies that are springing into being under the magnificent direction of the new Knight of the Garter, Lord Kitchener. Hearts are beating high with hope and determination to help in every way possible in this vast effort to uphold the right, and the call comes afresh to each one of us to do everything in our power at this time of National need. In the present number we gladly publish more names of comrades who have joined the forces, but could wish they were still more numerous. Are there not others who can and who will join the noble army of heroes prepared to face the enemy in the field for faith and Motherland?
Despite the relatively low cultural status of department store music, it is proposed that music – the shopping soundtrack – is capable of transforming perceptions of the…
Despite the relatively low cultural status of department store music, it is proposed that music – the shopping soundtrack – is capable of transforming perceptions of the environment in which it is heard, and eliciting immediate emotional and behavioural responses, thus underlining the influence of music, regardless of whether it is passively heard as a background element or actively listened to as a live performance in a dedicated venue.
This study addresses a gap in the marketing literature for introspective research evaluating the experience of music in service environments. It draws upon auto‐ethnographic data through which participants ponder their own consumption experience and provide detailed, subjective accounts of events and memories.
When considering the effects of music upon emotional, cognitive and behavioural responses, it highlights the importance of musicscape response moderators.
The service environment appears more exciting and attractive and may encourage increased spending when background music is congruous with other servicescape elements. Music with positive autobiographical resonance elicits pleasurably nostalgic emotions, positive evaluations and longer stay. However, the aural incongruity of unexpected silence in music‐free zones produces feelings of discomfort leading to negative store evaluation and departure.
Qualitative data are deliberately represented using typically positivist discourse to encourage resolution of the inherent tension between interpretivist and positivist perspectives and stimulate increased methodological integration (e.g. through future studies of music combining quantitative and qualitative data).
The tragedy of the War has come very close to librarians in the death of Mr. W. G. C. Gladstone, M.P., from wounds received in action in Flanders on April 14th. About two years ago he became interested in the new Libraries Bill, and took charge of it in the House of Commons. He worked assiduously, and his historic name, and his genial, unaffected manner won over men on all sides of the House, insomuch that the backers of the Bill included members of every political complexion. War has intervened, and prevented the Bill's progress, and now our Parliamentary leader has given his life for a greater cause. Regret for his loss is widespread throughout the country, and no one will feel it more keenly than librarians.
In this chapter, I discuss the artistic representation of the musical illustration of funeral rites and ceremonies in contemporary Poland. The death of a person in many…
In this chapter, I discuss the artistic representation of the musical illustration of funeral rites and ceremonies in contemporary Poland. The death of a person in many cultures is perceived as an important point in the life of a given community, especially a family; hence, people tend to express feelings stemming from these circumstances through art. Songs sung at funerals and during the mourning period have been used for centuries as a way for the living to express their grief for the person who has died. From an anthropological point of view, the main function of music accompanying funeral rites is to help family and friends of the deceased recover from their loss.
To illustrate my argument, I analyse the recording of folk songs by Adam Strug and Kwadrofonik: ‘Requiem Ludowe’ (‘The Folk Requiem’), released on CD in 2013. The musical motifs and lyrical themes are based on original folk tunes of Eastern Poland (Podlasie and Lubelszczyzna regions) that are still used in the villages during the bereavement period. The songs on the CD, which are: ‘Czemu tak rychło, Panie’ (‘Why is it So Soon, my Lord’); ‘Żegnam cię mój świecie wesoły’ (‘Goodbye my Merry World’); ‘Żegnam was mitry i korony’ (‘Goodbye to you Mithra and Crowns’); ‘Żegnam was wszystkie elementa’ (‘Goodbye to you all the Elements’); ‘Powiem prawdę świecie tobie’ (‘I Shall Tell you the Truth, my World’); ‘Piekło’ (‘The Hell’); ‘Czyściec’ (‘The Purgatory’); ‘Niebo’ (‘The Heaven’); and ‘Wieczność’ (‘The Eternity’) are rooted in Christian funeral traditions and they are supplemented by elements of Slavic folklore.
The lyrics of the mourning songs published on the recording display a specific attitude to the mythology of death and bereavement present in the culture of Polish peasants. The main themes of these folk songs, namely, the praise of the deceased, the grief of the remaining family, the preparation of the dead one for eternal life or the attempts to cross the threshold of life and death, are presented by the artists as the soul’s journey from the Earth to the Underworld, and through Purgatory to Eternal life as a final stage of a person’s destination. They show how the rural people imagine death itself and express their feelings of loss and grief in art to overcome the fear of the unknown.
The purpose of this paper is to provide a model of consumer response to music in broadcast commercials outlining four variables (listening situation, musical stimulus…
The purpose of this paper is to provide a model of consumer response to music in broadcast commercials outlining four variables (listening situation, musical stimulus, listener characteristics, and advertising processing strategy) that affect a consumer's attitude toward the advertising music (Aam).
The paper takes the form of an integrative review of the relevant literatures from the psychology of music, marketing, and advertising.
Aam can be positively but also negatively influenced by many factors. Only some of these variables are employed in any typical study on consumer response to music, which may account for some conflicting findings.
The paper discusses factors for effectively using commercial music to affect Aam, with special focus on advertising processing strategy. Advertisers are urged to exercise extreme caution in using music and to always pretest its use considering factors identified in this paper. The paper suggests ways in which the model can guide future research.
The paper integrates diverse literatures and outlines the major variables comprising our model of consumer response to advertising music. Advertisers can use these variables as a checklist for factors to consider in selecting ad music.