Facebook as a tool for social customer relationship marketing

This study aimed to provide public relations professions with insight into the use of Social Customer Relationship Marketing as a marketing 2.0 tool which delivers the potential to elicit the opportunity for organisations to monitor, engage and manage conversations and relationships through Facebook. Drawing on literature from the fields such as new media, public relations, social customer relationship marketing, and public relations, a qualitative content analysis of case studies of selected organisations was conducted including 10 South African organisations that have incorporated Facebook into their Social Customer Relationship Marketing strategies. The content analysis was conducted to determine the amount of communications taking place on each fan page in order to support the data and provide additional insight into the research question, primary data was collected through two survey questionnaires of, firstly, social media users who subscribe to an organisation‘s Facebook page and, secondly, a survey conducted among the social organisations. Surveys were conducted to firstly determine the social organisations interactions with Facebook as secondly, to determine the social media users‘ interactions with the Facebook. The study found that the majority of the organisations under study in the content analysis successfully elicited user generated conversations about the brand, through content that was advocated by the organisations Facebook administrator. It is also evident as seen in the minority of organisations that these platforms are only likely to elicit consumer- driven dialogue on Facebook if the platform is managed effectively through initiated daily conversations about the brand. The continuous involvement by the administrator in encouraging conversations was necessary, as well as response to all wall posts by the social customer, participation in all conversations by providing accurate information to customers and potential customers about the brand. Conclusions from the survey questionnaires among the social identified the social customers need to be communicated with pro-actively by an organisations who can provide, through collaborative conversations, information pertaining to the brand in real time conversation, while the survey among the social organisation concluded the need for an organisation to not only create a social media footprint, but to allow for a space in which through conversation with the social customer, conversations can turn into relationships

Facebook as a tool for social customer relationship marketing

This study aimed to provide public relations professions with insight into the use of Social Customer Relationship Marketing as a marketing 2.0 tool which delivers the potential to elicit the opportunity for organisations to monitor, engage and manage conversations and relationships through Facebook. Drawing on literature from the fields such as new media, public relations, social customer relationship marketing, and public relations, a qualitative content analysis of case studies of selected organisations was conducted including 10 South African organisations that have incorporated Facebook into their Social Customer Relationship Marketing strategies. The content analysis was conducted to determine the amount of communications taking place on each fan page in order to support the data and provide additional insight into the research question, primary data was collected through two survey questionnaires of, firstly, social media users who subscribe to an organisation‘s Facebook page and, secondly, a survey conducted among the social organisations. Surveys were conducted to firstly determine the social organisations interactions with Facebook as secondly, to determine the social media users‘ interactions with the Facebook. The study found that the majority of the organisations under study in the content analysis successfully elicited user generated conversations about the brand, through content that was advocated by the organisations Facebook administrator. It is also evident as seen in the minority of organisations that these platforms are only likely to elicit consumer- driven dialogue on Facebook if the platform is managed effectively through initiated daily conversations about the brand. The continuous involvement by the administrator in encouraging conversations was necessary, as well as response to all wall posts by the social customer, participation in all conversations by providing accurate information to customers and potential customers about the brand. Conclusions from the survey questionnaires among the social identified the social customers need to be communicated with pro-actively by an organisations who can provide, through collaborative conversations, information pertaining to the brand in real time conversation, while the survey among the social organisation concluded the need for an organisation to not only create a social media footprint, but to allow for a space in which through conversation with the social customer, conversations can turn into relationships

A voice unknown: Undercurrents in Mussorgsky's 'Sunless'

Mussorgsky's Sunless cycle is aesthetically and stylistically an anomalous member of his oeuvre. Its notably effaced, pared-down, and withdrawn qualities present challenges to critical interpretation. Its uniqueness, however, renders it a crucial work for furnishing the fullest possible picture of Mussorgsky as a creative artist. The author of its texts, Golenishchev-Kutuzov (whose relationship with Mussorgsky at the time of its writing possibly extended beyond the platonic) has been identified by recent scholarship as an essential eye-witness for those to whom Stasov's populist characterization of the composer does not ring entirely true. Golenishchev-Kutuzov believed that in Sunless Mussorgsky first revealed his authentic artistic self. According to Golenishchev-Kutuvoz, Mussorgsky regarded his signal achievement in Sunless to have been the eradication of all elements other than feeling. In other words, he had thrown off the stylistic shackles imposed by the aesthetics of realism and relied entirely on intuitive harmonic invention as the sole conveyor of a purely subjective, affective meaning in the cycle. This hypothesis forms the point of departure for an investigation of select numbers of the cycle. Analysis reveals that the affective aspect is riot the only significant element operative. Alongside remnants of the realist style, there is evidence, of varying degrees of subtlety, for a knowing use of symmetrical pitch organization. Mussorgsky not only adapted the usual referential attachments of symmetrically based chromaticism-typically found in Russian operas of the second half of the nineteenth century-he also, through extremely simple but effective means, synthesized the intuitive harmonic and rational symmetrical elements of the cycle's pitch organization so that the latter emerges seamlessly out of the former. This remarkable synthesis ensures the cycle's uniformity of tone while also allowing for a reading that extends beyond the generally affective to the symbolically more specific. This symbolic level of reading offers several interpretative possibilities, one of which may refer even to the relationship of the poet and the composer. Irrespective of such potentials for interpretation, the most significant achievement in the cycle remains the synthesis of the intuitive/affective and rational/symbolic elements of its organization. Songs 1, 2, 3, and 6 of the cycle are considered in detail

Interprofessional education in geriatric medicine: towards best practice. A controlled before-after study of medical and nursing students

Objectives. To investigate nursing and medical students’ readiness for interprofessional learning before and after implementing geriatric interprofessional education (IPE), based on problem-based learning (PBL) case scenarios. To define the optimal number of geriatric IPE sessions, the size and the ratio of participants from each profession in the learner groups, the outcomes related to the Kirkpatrick four-level typology of learning evaluation, students’ concerns about joint learning and impact of geriatric IPE on these concerns. The study looked at the perception of roles and expertise of the ‘other’ profession in interprofessional teams, and students’ choice of topics for future sessions. Students’ expectations, experience, learning points and the influence on the understanding of IP collaboration, as well as their readiness to participate in such education again were investigated. Design. A controlled before–after study (2014/2015, 2015/2016) with data collected immediately before and after the intervention period. Study includes additional comparison of the results from the intervention with a control group of students. Outcomes were determined with a validated ‘Readiness for Interprofessional Learning’ questionnaire, to which we added questions with free comments, combining quantitative and qualitative research methods. The teaching sessions were facilitated by experienced practitioners/educators, so each group had both, a clinician (either geratology consultant or registrar) and a senior nurse. Participants. 300 medical, 150 nursing students. Setting. Tertiary care university teaching hospital. Results. Analysis of the returned forms in the intervention group had shown that nursing students scored higher on teamwork and collaboration post-IPE (M=40.78, SD=4.05) than pre-IPE (M=34.59, SD=10.36)—statistically significant. On negative professional identity, they scored lower post-IPE (M=7.21, SD=4.2) than pre-IPE (M=8.46, SD=4.1)—statistically significant. The higher score on positive professional identity post-IPE (M=16.43, SD=2.76) than pre-IPE (M=14.32, SD=4.59) was also statistically significant. Likewise, the lower score on roles and responsibilities post-IPE (M=5.41, SD=1.63) than pre-IPE (M=6.84, SD=2.75). Medical students scored higher on teamwork and collaboration post-IPE (M=36.66, SD=5.1) than pre-IPE (M=32.68, SD=7.4)—statistically significant. Higher positive professional identity post-IPE (M=14.3, SD=3.2) than pre-IPE (M=13.1, SD=4.31)—statistically significant. The lower negative professional identity post-IPE (M=7.6, SD=3.17) than pre-IPE (M=8.36, SD=2.91) was not statistically significant. Nor was the post-IPE difference over roles and responsibilities (M=7.4, SD=1.85), pre-IPE (M=7.85, SD=2.1). In the control group, medical students scored higher for teamwork and collaboration post-IPE (M=36.07, SD=3.8) than pre-IPE (M=33.95, SD=3.37)—statistically significant, same for positive professional identity post-IPE (M=13.74, SD=2.64), pre-IPE (M=12.8, SD=2.29), while negative professional identity post-IPE (M=8.48, SD=2.52), pre-IPE (M=9, SD=2.07), and roles and responsibilities post-IPE (M=7.89, SD=1.69), pre-IPE (M=7.91, SD=1.51) shown no statistically significant differences. Student concerns, enhanced understanding of collaboration and readiness for future joint work were addressed, but not understanding of roles. Conclusions. Educators with nursing and medical backgrounds delivered geriatric IPE through case-based PBL. The optimal learner group size was determined. The equal numbers of participants from each profession for successful IPE are not necessary. The IPE delivered by clinicians and senior nurses had an overall positive impact on all participants, but more markedly on nursing students. Surprisingly, it had the same impact on medical students regardless if it was delivered to the mixed groups with nursing students, or to medical students alone. Teaching successfully addressed students’ concerns about joint learning and communication and ethics were most commonly suggested topics for the future

'Form and Orbital Tonality in the Finale of Bruckner's Seventh Symphony'

This article investigates questions of form in the Finale of Bruckner's Seventh Symphony, paying special attention to the reversed recapitulation as a problematic category in contemporary Formenlehre. Counterpointing Timothy Jackson's reading of the movement as a ‘tragic’ reversed sonata against James Hepokoski and Warren Darcy's critique of the concept of reversal, it seeks ways of accounting for the movement's novel form‐functional characteristics, which integrate concepts of thematic syntax with a model of chromatic tonality, drawing simultaneously on Schenkerian and neo‐Riemannian theories and the notion of the double‐tonic complex first proposed by Robert Bailey. The argument is contextualised in relation to critical debates about Bruckner's forms that originated during the composer's lifetime, especially claims of material discontinuity and harmonic illogicality, which were common in the symphonies’ pro‐Brahmsian reception and which linger in the discourse up to the present. The article's central claim is that a substantial understanding of both the Finale's form and its critical reception is attendant upon a theory of formal function, which takes seriously the difficulties of harmonic analysis that Bruckner's post‐Wagnerian idiom engenders

Vocal Culture in the Age of Laryngoscopy

For several months beginning in 1884, readers of Life, Science, Health, the Atlantic Monthly and similar magazines would have encountered half-page advertisements for a newly patented medical device called the ‘ammoniaphone’ (Figure 2.1). Invented and promoted by a Scottish doctor named Carter Moffat and endorsed by the soprano Adelina Patti, British Prime Minister William Gladstone and the Princess of Wales, the ammoniaphone promised a miraculous transformation in the voices of its users. It was recommended for ‘vocalists, clergymen, public speakers, parliamentary men, readers, reciters, lecturers, leaders of psalmody, schoolmasters, amateurs, church choirs, barristers, and all persons who have to use their voices professionally, or who desire to greatly improve their speaking or singing tones’. Some estimates indicated that Moffat sold upwards of 30,000 units, yet the ammoniaphone was a flash in the pan as far as such things go, fading from public view after 1886

Opera and Hypnosis: Victor Maurel’s Experiments with Verdi’s Otello

One day in his private home on the avenue Bugeaud, in Paris’s sixteenth arrondissement, the famous baritone Victor Maurel hosted a meeting which combined music with hypnotism of a young woman

Unsound Seeds

With this image of a curtain hiding and at the same time heightening some terrible secret, Max Kalbeck began his review of the first Viennese performance of Richard Strauss’s Salome. Theodor W. Adorno picked up the image of the curtain in the context of Strauss’s fabled skill at composing non-musical events, when he identified the opening flourish of Strauss’s Salome as the swooshing sound of the rising curtain. If this is so, the succès de scandale of the opera was achieved, in more than one sense, as soon as the curtain rose at Dresden’s Semperoper on 10 December 1905. Critics of the premiere noted that the opera set ‘boundless wildness and degeneration to music’; it brought ‘high decadence’ onto the operatic stage; a ‘composition of hysteria’, reflecting the ‘disease of our time’, Salome is ‘hardly music any more’.The outrage did not end there

Operatic Fantasies in Early Nineteenth-Century Psychiatry

In his celebrated essay on insanity in the Dictionnaire des sciences médicales (1816), French psychiatrist Étienne Esquirol marvelled at the earlier custom of allowing asylum inmates to attend theatrical productions at Charenton

Science, Technology and Love in Late Eighteenth-Century Opera

It is a tale told by countless operas: young love, thwarted by an old man’s financially motivated marriage plans, triumphs in the end thanks to a deception that tricks the old man into blessing the young lovers’ union. Always a doddering fool, the old man is often also an enthusiast for knowledge. Such is the case, for instance, in Carlo Goldoni’s comic opera libretto Il mondo della luna (1750), in which Buonafede’s interest in the moon opens him to an elaborate hoax that has him believe he and his daughters have left Earth for the lunar world; and also in the Singspiel Die Luftbälle, oder der Liebhaber à la Montgolfier (1788), wherein the apothecary Wurm trades Sophie, the ward he intended to marry himself, for a technological innovation that will make him a pioneering aeronaut