Experiences and Perceptions of Liberian Business Leaders\u27 Transformational Leadership Skills

African business leaders may not be effective because of a lack of transformational leadership skills. Business leaders applying transformational leadership skills can strengthen relationships with followers and enhance organizational performance. The purpose of this phenomenological study was to explore the experiences and perspectives of Liberian business leaders regarding transformational leadership skills needed to lead profitable organizations. Building on a conceptual framework of transformational leadership theory, data were obtained from open-ended interviews of 20 Liberian business leaders operating in the capital city of Monrovia. Interviews were transcribed, coded, validated through transcript review, and analyzed to generate themes. The most prominent themes were the need for Liberian business leaders to act as role models, to attend to individual employee\u27s needs, and to demonstrate ethical conduct. The findings indicated that Liberian business leaders may adopt transformational leadership to help a company gain a competitive advantage, make profits, and enhance employees\u27 commitment and organizational performance. These findings may contribute to positive social change by creating awareness among Liberian business leaders about the benefits of transformational leadership to expand company operations, create employment opportunities, and contribute to poverty reduction in Liberia. Research findings may be useful information to Liberian policymakers, business leaders, and scholars seeking to understand business leadership challenges in a postconflict economy

The Improvisational Vocabulary of Pepper Adams: A Comparison of the Relationship of Selected Motives to Harmony in Four Improvised Solos

Park "Pepper" Adams, III (1930-1986) is one of the most influential baritone saxophonists in the history of modern jazz. In addition to his time feel, his timbre, and other conceptual techniques, a great deal of Adams's improvisational style and vocabulary can be illustrated by his use of three motivic devices. These three motivic devices are: (1) his utilization of the sixth degree of the major scale as an important melodic pitch; (2) his use of a paraphrased portion of the melody of the popular song "Cry Me a River;" and (3) his use of the half-whole octatonic scale when the rhythm section sounds a dominant chord. This dissertation traces the way in which Adams applies these three motivic devices through four of his original compositions, "Enchilada Baby," "Bossallegro," "Lovers of Their Time," and "Rue Serpente." All four of these compositions were recorded by Adams on his 1980 album, The Master. In addition to the motivic analysis, a biography of Adams is included. Complete transcriptions by the author of Adams's improvised solos on the four compositions are included in the appendices

A proposal for calculating the no-observed-adverse-effect level (NOAEL) for organic compounds responsible for liver toxicity based on their physicochemical properties

Objectives: Both environmental and occupational exposure limits are based on the no-observed-adverse-effect level (NOAEL), lowest-observed-adverse-effect level (LOAEL) or benchmark dose (BMD) deriving from epidemiological and experimental studies. The aim of this study is to investigate to what extent the NOAEL values for organic compounds responsible for liver toxicity calculated based on their physicochemical properties could be used for calculating occupational exposure limits. Material and Methods: The distribution coefficients from air to the liver (log Kliver) were calculated according to the Abraham solvation equation. NOAEL and LOAEL values for early effects in the liver were obtained from the literature data. The descriptors for Abraham's equation were found for 59 compounds, which were divided into 2 groups: "non-reactive" (alcohols, ketones, esters, ethers, aromatic and aliphatic hydrocarbons, amides) and "possibly reactive" (aldehydes, allyl compounds, amines, benzyl halides, halogenated hydrocarbons, acrylates). Results: The correlation coefficients between log-log K and log NOAEL for non-reactive and reactive compounds amounted to r = -0.8123 and r = -0.8045, respectively, and were statistically significant. It appears that the Abraham equation could be used to predict the NOAEL values for compounds lacking information concerning their liver toxicity. Conclusions: In view of the tendency to limit animal testing procedures, the method proposed in this paper can improve the practice of setting exposure guidelines for the unstudied compounds

The Piano as an Orchestra: The Accompanist and the Twentieth-Century Orchestral Reduction

The musical developments of the 20th century have expanded the role of the accompanist. As the compositional output of our time increases, and the opportunity to perform as soloist with an orchestra diminishes, piano reductions of an orchestral score are becoming the most frequent vehicle for concerto performances of twentieth and twenty-first century instrumental literature. While the current state of research provides solid support to many accompanists, it is in the area of instrumental accompanying, especially with regard to the challenges of playing a reduction of an orchestral score with an instrumental soloist, that the lack of discourse becomes strikingly evident. It is the goal of this study to provide the instrumental accompanist with concrete, practical approaches and considerations in order to perform an orchestral reduction in a manner consistent with the integrity of the score. Problems such as identifying the represented orchestral instruments, delineating importance of musical lines, and basic uses and misuses of pedal, articulation, and rubato are discussed. The pianist is led through ways of deciphering and negotiating specific passages, in order to guide the accompanist through the possible pitfalls and challenges unique to many orchestral reductions. By focusing on twentieth century reductions, providing examples of problems and discussing ways to solve them, the pianist will able to apply these to any reduction encountered, not just those specifically illustrated here. These basic principles of discerning common problems and appropriately reconciling them are then applied in a more advanced form to Robert Nelson's Concertino for Baritone Saxophone (1996). Through commentary from the composer, and a comparison of the orchestral score to the reduced piano score, the accompanist will explore detailed techniques of performing this work in a manner that upholds the original “orchestral” intent of the music