Differentiate between processes of creativity, innovation, and entrepreneurship
Identify organizations that develop and foster processes, practices, and attributes for creativity and innovation
Explain the implications for organizational culture, when developing a culture of creativity and / or innovation
Explain the methods and approaches undertaken by a leading organization and critique a global brand name.
Identify the success of Apple and the attributes of the people, places, products and approaches that have made Apple the most valuable company in the world, with regards to market capitalization.
Identify the innovation approach Apple has successfully used to identify customers’ needs, and how did it help them to stay ahead of the competition?
What role did Apple’s people have, in the company constantly coming up with innovative products, and how did the culture at Apple encourage / discourage them?
What impact did Steve Jobs have on Apple and what did he bring, personally, to the organization? What was Steve Jobs?
One of Bach’s most praised pieces, Brandenburg Concerto No. 2 was a piece of six organizations (known as the Brandenburg Concerti, all things considered, however they were generally musically disconnected) that Bach submitted in March 1721 to Margrave Christian Ludwig of Brandenburg as an occupation use of sorts. Bach, in the wake of the demise of his better half, was endeavoring to leave his melodic position with Prince Leopold of Anhalt-Cöthen. Be that as it may, the individual organization dates for the Brandenberg Concerti can’t be accurately decided. The main thing that can be said with assurance in regards to their order is that they were altogether formed by March 1721, the date on Bach’s signature duplicate, (Boyd, 1993) including Concerto No. 2. (Incidentally, Bach did not land the position.) This piece is identifiable as being in the style of a Concerto Grosso. Concerto grosso, actually interpreted as extraordinary show, was a well known compositional/execution style from the Baroque time frame, which is limited in the vicinity of 1650 and 1750. By and large, a concerte grosso was recognized by a little arrangement of solo instruments (the concertino) that communicated in a melodic duel of sorts with a bigger gathering (the ripieno), one noting the other. The Brandenburg Concerto No. 2 is simply such a case, with the trumpet playing the most regularly surely understood concertino voice. Concerto No. 2 was composed in the key of F major, and scored for the accompanying instruments: trumpet (as suggested above), woodwind or recorder (the first instrument utilized), oboe, and violin from whose positions came the performance instruments; and the viola, cello, and continuo (most normally a harpsichord), which together shaped the ripieno. The piece is separated into three developments, as takes after: 1. Allegro (without beat sign) 2. Moderately slow and even 3. Allegro assai We will center around the primary development. The trumpet part emerges most outstandingly, as it is composed to be performed in the troublesome clarion style, in which the trumpeter plays in the exceptionally most astounding registers inside the instrument’s ability, utilizing just the intensity of quick lip developments and accurately controlled breathing to change the instrument’s pitch. In Bach’s chance, trumpets did not have valves as they do now. In most contemporary exhibitions, a piccolo trumpet is utilized to play out the first trumpet part as the piccolo trumpet is tuned higher. Whatever the case, the trumpet part emerges distinctly in the surface of the piece, with its forceful and exuberant tones taking off finished the sonic scene inside this piece as it reflects the ensemble and takes off without anyone else likes. This trumpet part is viewed as a commendable test for any propelled player who dares take it on. Strangely, in the primary development, it is the exceptionally high pitch of the trumpet part, rather than the part it is playing, which supplies it with its propensity to emerge. The purpose behind this is here in the principal development, Bach toys with the desires for the class and has composed the concierto and ripieno instruments the same or comparable parts amid a bit of the development, rendering them now and again indistinct. Melodically, there are fundamentally two rehashing subjects, or ritornello, whereupon each instrument, regardless of whether concierto or ripieno, bases its developments. Notwithstanding when the performance instruments veer off as they ought to in the class, they are as yet ‘riffing,’ maybe, off the material framing the two-development establishment. They get off the primary topic in sets, wandering forward into rehashing and increasing the second subject while complimenting the principal topic. Both the concierto and ripieno parts contain countless inside most measures, frequently bunches of sixteenth notes. The net impact is parts and instruments mixing together both literarily and tonally. Two instruments that may typically be effectively discernable from each other rather might be seen by the unpracticed audience as one extraordinary and diverse one playing a similar fast fire arrangement of notes. This sonic grouping, joined with the way that the specific blend of instruments Bach indicated for this specific concerto, influences the piece to emerge and accounts to some degree for its persevering ubiquity. To the extent general surface in the main development is concerned, the piece is absolutely set apart by a bustling arrangement of contrapuntal components. The surface can likewise be by and large depicted as fairly for the most part higher and more slender, maybe, or if nothing else less full-sounding and spread out than some different pieces in the Brandenberg family or other music of the day and age. There is a decent arrangement of sonic straightforwardness, or open sonic space, left by the continuous aggregate high pitching of the concierto instruments, which are grouped together by uprightness of the rehashing ritornello. The individual instruments flying off their sixteenth-note makes an extremely one of a kind polyphonic surface, and where the instruments separate, additionally makes a pleasant feeling of force which is strengthened by the efficient and (misleadingly so) engaged symphonious structure of the piece. The symphonious structure of the piece is primarily an exhibit of exceptionally think and figured powerful agreement, proposed to utilize consonant components to guarantee the piece moves itself reliably forward, both sincerely and fundamentally. In particular, Bach utilizes ‘solid’ harmony movements, I-IV-V-I movement in numerous occurrences, rather than, for instance, only swaying purposelessly between harmonies, which would have brought about an absence of bearing in the piece. The basic unique sounds serve to satisfyingly push along the as of now naturally liquid harmony movements Even however the surface of the music is contrapuntal, and the composition is in two sections, the dynamic agreement is by the by much in prove. (Sutcliffe, 1999) This symphonious structure, alongside the other champion components, are a demonstration of the sharp arranging clear in such an extensive amount Bach’s work. Specifically, this first development in the piece is so jaunty, enthusiastic, and relatively hyper in a few cases that it is anything but difficult to overlook that the whole Concerto is in certainty a firmly composed and plotted piece, that at the same time permits a specific inventiveness in translation which can change by execution. All things considered, the principal development in Concerto No. 2 isn’t just a respected melodic champion in its own right, both in structure and trouble, however an interesting impression of the bigger melodic patterns obvious in the established music of the time, and Bach’s own particular life.>