An empirical study of assurance in the UK government major projects portfolio: from data to recommendations, to action or inaction

© 2020, Emerald Publishing Limited. Purpose: Effective and robust governance of major projects and programmes in the public sector is crucial to the accountability of the state and the transparency of state spending. The theoretical discourse on governance, in the context of projects and programmes, is not fully mature, although is now sufficiently well developed to warrant an increased scholarly focus on practice. This paper aims to contribute to the empirical literature through a study of assurance routines in the UK Government Major Projects Portfolio (GMPP). Design/methodology/approach: A framework analysis approach to the evaluation of a subset of GMPP database generates original insights into (1) the framing of assurance review recommendations, (2) the treatment of assurance review data and (3) the subsequent tracking of the implementation of actions arising from the assurance review process. Findings: The analysis reveals that the “delivery confidence” of the major projects and programmes included in this study improves during the time that they are assured on the GMPP. This would suggest that “enhanced” governance routines are desirable in programmes and projects that exhibit high degrees of complexity and scale. Originality/value: The research findings contribute to the wider conversations in this journal and elsewhere on project governance routines and governance-as-practice in the context of government and public services

Thomas Tallis 500th Anniversary Celebration Concert [1505-2005]

The Thomas Tallis Society presents "Thomas Tallis 500th Anniversary Celebration Concert (1505-2005)" [COMPACT DISC]. Performed at St. Alfege Church, Greenwich, London. Conducted by Philip Simms; organ: Stephen Dagg. Live Recording at the [former] Royal Peculiar Church of St. Alfege, Greenwich - burial place of Thomas Tallis, "The Father of English Cathedral Music", and featuring four 40-part motets. i. Kyrie, Op.5 ("Missa Temporis Perditi") - Jonathan Little (b.1965) in 21 parts (5:21) [WORLD PREMIERE RECORDING] ii. Ecce Beatam Lucem - Alessandro Striggio, Sr (1535-1592) in 40 parts (8:33) iii. Spem in Alium - Thomas Tallis (1505-1585) in 40 parts (10:47) iv. And There Shall Be No Night There - Robert Hanson (b.1948) in 40 parts (14:01) v. Deus, Deus Meus - Mervyn Cooke (b.1963) in 40 parts (14:01) Total running time: 51:51 Recording Engineer: Adi Winman Recording Producer: Adi Winman Executive Producer: Jonathan Littl

The Undersea World of the Sound Department: the Construction of Sonic Conventions in Sub-aqua Screen Environments

The availability of new underwater cameras and sub-aqua diving gear in the immediate post-war era opened up exciting possibilities for both narrative and documentary filmmakers. While the visual elements of this new world could now be more easily captured on film, the sound elements of the sub-aqua environment remained more elusive. What did, or should, this undersea world sound like? This article examines the use of sound in the sub-aqua scenes of both fictional and documentary films in the 1950s and asks questions about the methods used in the sonification of these worlds. Comparing the operation of underwater sound and human hearing with the production and post-production strategies used by filmmakers, I seek to identify the emergence of a sound convention and its implications for issues of cinematic realism. Central to this convention is the manipulation of sonic frequencies. The sound strategies adopted also raise questions about the malleability of viewer perspective and sound-image relationship in terms of a realist mode of address. Linked to this is the use of sound to enhance audience experience on an affective level. As well as underpinning cinematic realism, these new sound environments offered fresh experiences to audiences seeking new reasons to visit the cinema in an era of widening forms of entertainment

The chronicle of jazz

256 hal. : ind. : il. ; 29 c

The Cambridge Companion to Film Music

Buku ini berisi kumpulan esai yang memberikan gambaran komprehensif tentang banyak hal mengenai fungsi musik dalam soundtrack film. Semua penulis buku ini adalah ahli dan praktisi terkemuka bidang musik untuk film yang ditulis dari sudut pandang sejarah, teori dan genre dalam industri film ( film noir, melodrama Hollywood, horor, fiksi ilmiah dan lain-lain. Isi buku dibagi dalam 4 bab. Bab I tentang membuat musik film, Bab II tentang pendekatan musik film, Bab III tentang genre dan idiom dan bab IV tentang musik di film-film dunia.xxi, 411 hal.: ilus 25 c