![]() ![]() Students may be familiar with a piece, and may even know it well, but have they thought about it? Active listening, therefore, is a useful tool in both music courses and non-music courses, and can have the democratizing effect of leveling the playing field. ![]() Even students with years of performance training may struggle when it comes to talking about music or making salient observations about what they hear. ![]() Whether employed in music courses or in non-music courses, active listening does not require advanced musical training or the ability to read music, yet it can still be used with students who can read music. In other words, active listening is listening with a purpose. If active learning is generally understood as any pedagogical approach that engages students in the learning process and requires students to do meaningful learning activities and think about what they are doing in the context of the classroom, then active listening similarly requires students to engage with and think about what they hear. So what is “active listening” and how can we encourage and facilitate it when using musical examples in undergraduate courses? However, while active learning is a frequent topic of discussion in pedagogical circles today, the notion of active listening is rarely addressed-if at all. Even the best-prepared activities can miss the mark, however, unless students are prepared to listen and not just to hear. In order to make effective use of the music made available via these resources, we must train our students how to engage with it. Many university libraries are purchasing subscriptions to online streaming databases and supporting initiatives to catalogue and archive their multimedia collections, thus providing access to a rapidly diversifying treasure-trove of newly available resources for use in undergraduate courses. An Art History course on Impressionism might examine various musical compositions in conjunction with visual works of art of the same period, comparing Debussy’s Reflets dans l’eau with Claude Monet’s Water Lilies to better understand the principles and markers of the impressionist movement as expressed in various media. A class on Shakespeare’s Othello, for example, might feature a musical excerpt from Giuseppe Verdi’s 1887 operatic setting of the play. An English course might examine how particular texts have been set to music, or how canonical theatrical works have been adapted for the operatic stage. For example, an American History course on the 1960s could feature iconic protest songs of the anti-war movement or a comparison of Aretha Franklin’s Respect from 1967 with Otis Redding’s original 1965 recording in order to highlight prevalent issues of class and gender in the United States at that time. Musical examples can be usefully deployed in a wide variety of disciplines. By expanding the notion of a “text” to include any object that can communicate meaning-as in the literary theory sense of the word-then music can also be treated as an important object of study from a variety of vantage points. But music is not just for musicians and music courses. While the importance of teaching with a variety of artifacts or objects is generally recognized, music may not always be the first port of call outside of music classes. To practice active listening, we must-like Dr. Nevertheless, music has the power to enrich student engagement in the college classroom if they learn the art of active listening and how to connect what they hear with a broader conceptual network. Music surrounds us everyday-it is on our playlists, the radio, commercials, soundtracks for movies or television shows, our neighbors’ stereo-yet we seem to have mastered the art of hearing without listening. In these parallel statements, the implication is that “seeing” and “hearing” are passive, while “observing” and “listening” are active, requiring a heightened level of engagement from the observer or listener but also resulting in a greater acquisition of knowledge. Watson can be rephrased to reference the ear rather than the eye as the sensory organ of observation: You hear, but you do not listen. By Christy Thomas You see, but you do not observe.
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![]() ReCharge also plans to “broaden” its acquisition scope so that it can “accelerate” its time-to-market in certain domains, according to O’Connor, and of course build upon its products and services. It plans to continue its expansion into other e-commerce platforms such as BigCommerce, Salesforce Commerce Cloud and Magento, and outside of North America into other geographic markets, starting with Europe. ReCharge plans to use its fresh capital to accelerate hiring in both R&D (engineering and product) and go-to-market functions such as sales, marketing and customer success. “We believe there is a combination of factors at play: the pandemic, the rise of physical subscriptions and the rise of direct-to-consumer buying.” “Overall, we saw a 91% subscriber growth in 2020 across the board in all categories of subscriptions,” O’Connor told TechCrunch. For example, ReCharge saw beauty care products subscribers grow by 120% last year. ![]() He was surprised to see that growth also extend beyond the most obvious categories. “Certain categories such as food & beverage and pet foods were some of the fastest growing segments in total subscriber count, with 100% and 147% increases, respectively, as non-discretionary spending shifted online.” ![]() “We saw many brick and mortar stores, such as Oatly, offer their products through subscriptions as a result of the pandemic in 2020,” O’Connor told TechCrunch. ReCharge also has 328 employees, up from 140 in January of 2020. But even prior to the pandemic, it had doubled its processing volume each year for the past five years and has processed over $5.3 billion in transactions since its 2014 inception. Customers include Harry’s, Oatly, Fiji Water, Billie and Native. The startup has 15,000 customers and 20 million subscribers across 180 countries on its platform. ReCharge’s ARR grew 146% in 2020, while revenue grew over 136% over the same period, according to co-founder and CEO Oisin O’Connor, although he declined to reveal hard numbers. The company has some impressive growth metrics, no doubt in part driven by the COVID-19 pandemic’s push to all things digital. It also aims to help these brands, primarily direct to consumer companies, grow by providing them with ways to “easily” add subscription offerings to their business with the goal of turning one-time purchasers “into loyal, repeat customers.” Specifically, ReCharge’s cloud-based software is designed to give e-commerce merchants a way to offer and manage subscriptions for physical products. Over the years, the company’s SaaS platform has evolved from a subscription billing/payments platform to include a broader set of offerings aimed at helping e-commerce businesses boost revenues and cut operating costs. 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Heater: a device for warming the air or water.Pump: a mechanical device using suction or pressure to raise or move liquids, compress gases, or force air into inflatable objects such as tyres.Heating coil: a special heating device that is shaped in a spiral design.Heat exchanges: used to transfer heat efficiently from one medium to another.Boiler: is a fuel-burning apparatus or container for heating water.There are listed some common plumbing symbols with relative explanations: Learn more details from this plumbing & piping symbols guide. Pipe connectors are used to attach one pipe to another to increase the length of the pipe or to change the direction of flow of a plumbing system. Piping or tubing is usually inserted into fittings to form connections. ![]() Piping and connection symbols denote all the pipeline types and connectors. It involves using pipes, valves, plumbing fixtures, tanks, and other equipment. 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