Succession Planning and Management in Governmental IT Organizations Dissertation - 1

Succession Planning and Management in Governmental IT Organizations - Dissertation Example It employed the use of three questionnaires to assess the provincial Government’s SPM structure, staff members assessment of current leaders who are products of the present SPM process and to test the applicability of the new process. Two hundred and forty participants participated in the Survey, participants included Human Resources Personnel, staff members from the different Ministries in the State and managers. Analysis of data was done using simple percentages . Survey results of the experiment indicates that even though Alberta Government has an SPM structure in place as it is uncommon with other State Governments; the structure has not really produced leaders with the desired management and leadership skills to develop the succession candidates; study also suggests that the current Alberta process is not really suited to the complexities of the IT organizations. The study therefore developed a process of SPM based on Ley 2002’s and Whittmore 2006 approach to SPM w hich includes eight elements altogether and the process tested. Results show that th

Interpreting Popular Music Essay Example | Topics and Well Written Essays - 2000 words

Interpreting Popular Music - Essay Example Lastly, of every significant structure, music has maybe the most unpretentious and complex connection to verbal dialect and the sorts of referentiality in which it is (customarily) related. The state of it being rich, makes music a vital source-case for a basic semiotics. Nevertheless, it is likewise this richness, which has regularly separated musical semiotics into contending camps, each one deficient. I ought to pause a minute, then, to show the general blueprints of the new amalgamation which, I believe, can at long last start to address this many-sided quality. There are three key improvements in musical semiotics in the 1990s. The principal was a basic swing in the field far from formalism for its own particular purpose, towards a recharged enthusiasm for hermeneutics (but of a profoundly formalized sort). The hermeneutic turn has given room for musical semiotics to say significantly more in regards to the particular connections between cultural value and formal detail. The second advancement was the development of an intelligible and effective hypothesis of musical gesture a vastly improved picture of the associations between musics symbolic and corporeal aspects, and the inconspicuous interplay in the middle of literal and progressively abstract signs of encapsulation in musical practice. This advancement has permitted musical semiotics to be more particular about the instruments fundamental musical connotation at all levels of sweeping statement. The third advancement has been the rise of a semiotic hypothesis of musical narrative and musical personae. However, the main aim of this paper is to give a semiotic analysis of aâ€Å"Not a second† a rock song done by the Beatles back in the years. There has been plenty of earnest rock writing -- Heylin 1992 Eisen 1969, and Kureishi 1995- are excellent anthologies. Nevertheless, so far it has largely concentrated on disciplines like music’s sociology, with their theories and concepts rooted in