Techniques of Research in Health Essay Example for Free

Techniques of Research in Health Essay STATEMENT OF THE PROBLEM Immigrants to the United States represent a substantial and rapidly growing group that totaled more than forty-three million people or 13.5 percent of the U.S population in 2015 (Migration Policy institute (MPI), 2015). Since 1970, this percentage has almost tripled rising from 4.7% of the population to the current 13.5% in 2015 and shows no signs of decreasing (MPI Immigration over time 1850-2015). The inflow of immigrants even into smaller states is having a profound effect on a growing number of local communities as immigrants settle in non-traditional destinations like Minnesota and North Dakota. States that had relatively low percentages of immigrants are seeing these populations grow by big margins up to 90 percent in some cases  (Derose, K. et al, 2007). The make-up of this immigrant population is diverse, for instance, India was the leading country of origin for recent immigrants, with 179,800 arriving in 2015, followed by 143,200 from China, 139,400 from Mexico, 47,500 from the Philippines, and 46,800 from Canada. In 2013, India and China overtook Mexico as the top origin countries for recent arrivals. While Minnesota still has proportionally fewer immigrants than the U.S. as a whole with 8.3% of its population being immigrants compared to 13.5% nationally, the state’s foreign-born population is actually increasing faster than the national average. (Immigration Overview Minnesota Compass)In Minnesota, the number of immigrants has tripled since 1990, but nationally it only doubled. Immigrants are among the fastest growing populations in Minnesota, growing by 76 percent since 2000, compared with a 12 percent growth rate for the states population overall. This translates to around 457,000 Minnesota residents who are foreign-born by the end of 2015, including many refugees who fled their home countries. Over 80% of these immigrant groups are concentrated in the 7-county twin cities metro area. (Immigration Overview Minnesota Compass) Immigrants are often identified  as a vulnerable population, that is, a group at increased risk for poor physical, psychological, and social health outcomes and inadequate health care. The vulnerability is shaped by many factors, including political and social marginalization and a lack of socioeconomic and societal resources. Addressing the health care needs of immigrant populations is challenging both because of the heterogeneity of this group and because recent federal and state policies have restricted some immigrants’ access to health care. These policies have exacerbated existing differences in access, for example, legal residents versus undocumented and long-term residents versus recent arrivals. The stigma associated with some forms of immigration status; for example, undocumented versus refugee, can also contribute to vulnerability. (https://studymoose.com/issues-facing-latino-immigrants-in-todays-political-climate-essay). Given immigrant’s concentration in the 7-county twin cities metro area, a major public health concern is their access to health services. At present in the United States, health insurance is the best way to ensure access to health care. A key provision of the Affordable Care Act (ACA) is the requirement that private insurance plans cover recommended preventive services without any patient cost-sharing. This provision is important because it increases access to preventive healthcare by lowering costs and eliminating some costs. According to the Kaiser Commission on Medicaid and the Uninsured, uninsured individuals are less likely to receive preventive care or care for routine medical conditions and injuries. Lack of preventive health care and lack of treatment for medical conditions can lead to more serious illnesses and health problems. This, in turn, can result in hospitalizations and deaths that could have been prevented. (Health Key Measures Minnesota Compass). As these Immigrant groups assimilate and acclimatize into the system, the issue of Immigrant access to health care falls off as they begin to work and can gain access to health insurance through their employers. Existing literature suggests that there is a disparity in the utilization of healthcare in general and even preventive health care. Statement of the problem Preventive care includes health services like screenings, check-ups, and patient counseling that are used to prevent illnesses, disease, and other health problems, or to detect illness at an early stage when treatment is likely to work best. Getting recommended preventive services and making healthy lifestyle choices are key steps to good health and well-being. The existing literature on preventive care tends to focus on access to these procedures and even those few that are focused on utilization are mainly leaning towards individuals already diagnosed with specific disease states such as diabetes. However, since preventive care utilization recommendations are intended for all eligible individuals, it would seem more appropriate to apply a broader view on the use of preventive care services among healthy, disease-free individuals. (Prevention | Office of the Associate Director for Policy | CDC) The significance of the problem The purpose of this study is to analyze trends in the utilization of preventive care services among eligible immigrant groups in the twin cities area and comparing it to that of the non-immigrant population. Findings from this study will assist in identifying subpopulations that are not utilizing preventive care services adequately, thereby increasing their risk for developing chronic conditions. Taking a broad approach through predicting the use of preventive care services for all eligible individuals will draw the attention of policymakers towards individuals less likely to use health promotion and prevention services, and thus enable appropriate health care intervention recommendations. Research questions This study will seek to answer the following research questions: What are the rates of utilization of preventive health care among these different immigrant subgroups in the twin cities? What is the rate of utilization of preventive health care among the non-immigrant population in the twin cities? What are the differences or similarities in preventive healthcare utilization rates among the different subgroups and the non-immigrant population? Assumptions The study assumes that all participants will answer truthfully to all the questions, to this end, all participants are informed of their anonymity and confidentiality that will be preserved. The participants are informed about their right to withdraw from the study at any time and with no ramifications. Limitations This study depends on self-reports of participants, it is possible for participants to provide answers that they deem to be socially acceptable even if not true. The interviewer will prod for more accurate answers by trying to reformulate the question where they believe this to be the case. Access to these subgroups is dependent on social contacts information and although helpful, it may not be representative of the subgroups. A profile of each subgroup can help eliminate potential variations created by this limitation. This study also designates a geographical region, the 7-county twin cities metro area. The study assumes that the sample in the metro is representative of those in the greater Minnesota. Given the cultural heterogeneity of the participants, the researcher may not be culturally competent in the different cultures and may have to depend on a guidance from social contacts. The time needed to conduct this study is limited and therefore requires a limited sample size. Delimitations Focus on Immigrant groups in the twin cities metro area provide convenience in location of residence and the concentration of immigrants as opposed to those living in the greater Minnesota. Some immigrant groups originate from areas where healthy practices are automatically built into their lifestyles. For instance, if you cannot afford to buy a vehicle, then you will have to walk to and from the nearest means of public transportation. Likewise, some immigrant groups do not go to visit a doctor or a hospital unless they are unwell. These differences inspired the focus on gauging utilization of preventive health care services. The sample size will be determined by the subgroups population proportion to the population of Minnesota. This research will focus on adults with health insurance; this is so as to eliminate access to preventive health procedures as a variable in the study. Definition of terms Preventive healthcare: Health procedures including screenings, immunizations, and counseling. The study will select six overall procedures two from each category. Utilization: The measure of the populations use of the health care services available to them. The term immigrants also are known as the foreign born refers to people residing in the United States who were not U.S. citizens at birth. This population includes naturalized citizens, lawful permanent residents, certain legal nonimmigrants like persons on student or work visas, those admitted under refugee or asylee status.( U.S. Immigrant Population and Share over Time, 1850 ) References: Derose  KP,  Escarce  J,  Lurie  N.  Immigrants and health care: sources of vulnerability.  Health Aff.  2007;26(5):1258–1268. Migration Policy Institute (MPI) tabulation of data from U.S. Census Bureau, 2010-2015 American Community Surveys (ACS), and 1970, 1990, and 2000 Decennial Census. All other data are from Campbell J. Gibson and Emily Lennon, Historical Census Statistics on the Foreign-Born Population of the United States: 1850 to 1990 (Working Paper no. 29., U.S. Census Bureau, Washington, DC, 1999). U.S Census Bureau, Selected Characteristics of the Native and Foreign-Born Populations: 2016 American Community Survey 1-Year Estimates https://factfinder.census.gov/faces/tableservices/jsf/pages/productview.xhtml?pid=ACS_16_1YR_S0501prodType=table. L.J. Larsen, â€Å"The Foreign-Born Population in the United States: 2003,† Current Population Reports no. P20-551, August 2004, Fuseya, Y., Yamamoto, Y., Takahashi, T., Naito, D., Shima, K., Takahashi, K., Sakai, N. (2016). A62 CLINICAL ASPECTS OF CAP, HCAP, HAP, AND VAP: Social Factors On Hospitalization Period Of Elderly Patients With Pneumonia In Japan. American Journal of Respiratory and Critical Care Medicine, 193, 1.

Assia Djebars Fantasia :: Essays Papers

Assia Djebars Fantasia Assia Djebar’s Fantasia, is an autobiographical novel of an Algerian woman’s struggle to find her voice in a society that rewards the voiceless. In an area heavily laden with cultural traditions, she confounded these traditions by embracing the French language. Her struggles and development through the French language were very important themes within the novel. But what was Djebar’s link to the French language? Why did she pursue it in the manner that she did? Djebar’s Algerian world was filled with traditions that kept women silent. From the veils over their heads to the lack of encouragement to read or write, women were kept down. Djebar longed for freedom and found it in the French language. Flocking to the language of her enemies, Djebar found expression in its words. â€Å"I cohabit with the French language:† writes Djebar, â€Å"I may quarrel with it, I may have bursts of affection, I may subside into sudden or angry silences – theses are the normal occurrences in the life of any couple.† (213) If we examine this passage we will find what the French language truly meant to Djebar. There had been a relationship kin to marriage between French and her. This relationship starts early in her life with an introduction to French from her father. When Djebar first started to write love letters in French, she began to find the freedom she never knew existed. The language attracted her with its â€Å"endless jewel s.† This attraction was further spurred by the newfound freedoms she found in French schools. Djebar enjoyed the traditions and Quranic teachings imparted to her at the time however, she felt more fulfilled doing taboo things such as wearing shorts or playing sports. Djebar talks about her love affair with a student. In this affair it was not the love of the man that drove her but more importantly and ironically the budding love of the language. I believe it was the language that intrigued her the most not the actual person. In the passage, Djebar made a point to mention the language used to write the letter, but not the name of the person. To me this signifies the language as being the focal point of the event and not the actual person. If we look in the book, Djebar concentrates more deeply on her relationship with the French language over any other relationship that she had.

Characteristics of the Romantic Music Period

It is arguable that some Romantic music made greater demands upon its listeners than did music of previous historical periods. What were those demands? Why did these changes come about? And what strategies can you formulate for listening to this music today? In consideration of the musical changes present in the Romantic era, this essay will contend that these changes are very much related to the wider social and technological changes in society around that time. Thus, it is important to identify the broad time period encompassed by this era. The definition of Romanticism in The New Grove Dictionary of Music and Musicians is: â€Å"A movement or, more commonly, period of cultural history. When understood as a period, Romanticism is usually identified with either the first half or the whole of the 19th century. The term is used with reference primarily to the arts, but it can also embrace philosophy, socio-political history and, more widely, the ‘spirit’ of the era. † [i] Consequently, this essay views that Romantic music encompasses the whole of the nineteenth century and will consider some of the key changes which occurred around that time period. It has been argued that these changes have resulted in music which makes greater demands upon its listeners and this essay will highlight these demands and how they were influenced by those social and technological changes of that time, concluding with strategies for listening to this music today. Some of the music which can be used to illustrate these changes are specific works by Beethoven, a composer, who is viewed as a major influence on the music of the nineteenth century. This can be evidenced by the Grove article on Romanticism, which deems it to be widely accepted that Beethoven â€Å"inaugurated a ‘Romantic era’†[ii]. The demands of Romantic music are characterised by several key changes. These changes can be summarised as follows: an increased intensity, both technical and musical; a greater use of radical contrasts in the music and a significant increase in the length of musical compositions. The increased intensity of Romantic music can be demonstrated by an analysis of the Diploma syllabus of the ABRSM[iii]. This syllabus provides an â€Å"authoritative assessment framework† [iv] for technical and musical ability and one can see that the vast preponderance of its pieces fall into the Romantic category. Furthermore, as one progresses through the levels of syllabus, the â€Å"repertoire becomes more demanding† [v] and the volume of Romantic pieces increases steadily. A major factor in this change is the related technological advancements of that time period which resulted in the upgrading of a number of musical instruments to more advanced forms. This can be illustrated with reference to the specific example of the piano, an instrument refined considerably during the Romantic period. Key changes incorporate the introduction of modern style pedals, greater string diameters and tensions, an extended number of octaves, the double escapement action and the cast iron frame[vi] [vii]. Thus, the instrument of the nineteenth century is far superior to its eighteenth century counterpart. The resultant musical changes include a greater quantity of octaves available and a greater range of power and dynamics made available to the composer. This had the obvious corollary of composers producing pieces with greater use of radical dynamic contrasts. According to Winter[viii], Romantic composers used their new piano to great effect: The single most important development in the sound of the Romantic piano was doubtless the new emphasis on the sustaining (or damper) pedal. † These key changes of distinctive contrasts and increased intensity were aided by the accompanying social change in music around the Romantic period, which can be characterised by the rise of the virtuoso. Franz Liszt, the legendary pianist, dazzled audiences across Europe, garnering rave reviews wherever he travelled, considered by The New Grove Dictionary of Music and Musicians to be â€Å"the greatest piano virtuoso of his time† [ix]. The improved piano was critical to his displays of technical prowess. Without it he would not have been able to play pieces as demanding on the instrument. The â€Å"hitherto unimagined difficulty† [x] of his Vingt-quatres grandes etudes pour le piano[xi], was considered too much by the composer, he revised the Etudes and later published his Etudes d'execution transcendante[xii], – the latter still ferociously difficult but surpassed in that respect by the former. Given that a key feature of Liszt’s playing style and compositions was technical skill, one could argue Liszt could not have been the performer, or composer, he was, in the preceding century. Nicolo Paganini was another virtuoso of the highest calibre – a violinist[xiii]. He, too, gave fantastic performances to rapturous crowds in numerous countries. William Ayrton, editor of The Harmonicon, remarked that: â€Å"[H]is powers of execution are little less than marvelous, and such as we could only have believed on the evidence of our own senses; they imply a strong natural propensity for music, with an industry, a perseverance, a devotedness and also a skill in inventing means, without any parallel in the history of his instrument. † [xiv] Paganini, similar to Liszt, composed works for his instrument, which were considered some of the hardest in its repertoire[xv] – pushing the boundaries of the Romantic violin to previously unseen heights. An excellent way for a virtuoso to show off their talents is a concerto. The concerto provided a perfect vehicle to showcase the new technically advanced instruments and the music that could be performed on them[xvi]. One characteristic of Romantic concertos is their length. Indeed, this increased length is another key aspect of Romantic music as a whole. To take one concrete example of this, Vladimir Askenazy’s interpretations of Beethoven’s piano concertos[xvii] are significantly greater in length than his interpretations of Mozart’s concertos[xviii]. Further illustration of this is the opening movements of Beethoven’s piano concertos numbers 4 and 5, which both last longer than a number of Mozart’s concertos in their entirety and are longer, by far, than any of Mozart’s first movements. Similarly, other forms of musical composition demonstrated increasing length during the Romantic era. Beethoven’s Piano Sonata number 29 ,‘Hammerklavier’, being a case in point, according to Marston[xix], the extremely long solo piece was â€Å"most likely the longest ever written at that time†. The Hammerklavier sonata is also a perfect example of the other previously stated Romantic characteristics. The use of pianississimo and fortissimo a bar apart in the final section of the first movement is but one example of the radical contrasts present in the piece as a whole[xx]. Another hallmark of Romantic music is present in this piece: extreme technical difficulty – Andras Schiff declared Hammerklavier â€Å"virtually unplayable† [xxi]. This increase in length was also evident in the Romantic symphony. One striking example being Beethoven’s Symphony number three, ‘Eroica’, first published in 1804 [xxii], at the very dawn of musical Romanticism – its opening movement â€Å"dwarf[s] any comparable previous movement† [xxiii]. According to Bonds[xxiv], Eroica is the start, for Beethoven at least, of music displaying profound Romantic characteristics: â€Å"Particularly from the ‘Eroica’ onwards, Beethoven was seen to have explored a variety of ways in which instrumental music could evoke images and ideas transcending the world of sound. Overall, these properties of Romanticism were influenced by the social changes of the nineteenth century. These changes meant that composers of the Romantic era had greater freedom than ever before. Unlike their counterparts in previous historical periods, they no longer had to be almost entirely dependent on the church or the state or weal thy, upper-class patrons[xxv] [xxvi]. As highlighted previously, musicians could support themselves by giving public concerts, â€Å"Paganini earned so much money in one year that he could have bought 300 kilos of gold. [xxvii] [xxviii] As we can see in this example from Grove, the orchestra of the Romantic age was distinctly different from its predecessors in that it was not for the personal amusement of royalty or a symbol of status: â€Å"During most of the 18th century orchestras had been an accompaniment to and an expression of aristocratic court culture; in the 19th century the orchestra became a central institution of public musical life. † [xxix] Given the demands illustrated through these changes, several strategies are suggested. One possible strategy would be to learn a piece. As reading music is a necessary precursor to this, it would be a required and fruitful use of one’s time to learn to do so if the skill has not already been learnt. Learning to play a piece of music would be the ideal realisation of this strategy. However, this is not always possible and would be impractical for a piece with a large number of parts – a symphony, for example. Nevertheless, one can study and appreciate the technical or musical difficulty involved in a piece without being able to master it. Once able, listening to a piece of music whilst consulting the score is also a useful tool for following a piece and picking out specific parts. This is especially true of any orchestral piece. Another related strategy would be to try and put oneself in the shoes of a listener of the Romantic era. Listening to recordings performed on period instruments would be an ideal method of doing this. Also, learning more about the people of the period and what it would have been like for a nineteenth century person to listen to a certain work for the first time would be a further way to pursue this strategy. To learn, and appreciate, any other art forms linked with a piece of music is another strategy for listening to Romantic music – for example, Beethoven’s Symphony number 9. Beethoven based the final movement on the poem ‘Ode to Joy’ by Friedrich Schiller[xxx] – the movement is scored for orchestra, four vocal soloists and a choir – who sing the words of the poem. The case can be made that, to fully appreciate this work, one must appreciate the poem on which it is based. Additionally, understanding of the language the words are in – German – would take this strategy even urther. Separating a piece of music into parts is another strategy for listening to Romantic music. For example, a symphony or sonata can be listened to as individual movements, easier to absorb than, perhaps, thirty minutes or an hour’s worth of music. Exploring huge compositions or collections at one time is not the correct strategy, the sheer volume of n otes can be daunting and there is a danger that listening to too much music dulls one to the finer points of that music, it simply becomes noise. The distinct movements many composers put in their music should be utilised when first discovering a work, only once more understanding is cultivated should one attempt to listen to an entire concerto, sonata or symphony. Conclusively, it has been shown that Romantic music made greater demands upon its listeners than did music of previous historical periods. These demands were: increased technical and musical intensity; the use of bold, vivid contrasts and a considerably augmented duration of musical compositions. These changes came about due to technological advancements of the period, less reliance on patronage and the ‘musician’ became a respected and viable profession in the nineteenth century. There are many strategies which can be devised for listening to Romantic music, in the present day. These are: learning how to read and play music; to put oneself in the shoes of a listener of the time period; to study any art forms which are linked to a piece of Romantic music and dividing a composition into more easily manageable sections. These strategies will further aid the listener in appreciating and understanding Romantic music. ———————- [i] Jim Samson, â€Å"Romanticism†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] [ii] Jim Samson, â€Å"Romanticism†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] (1. History of usage) [iii] ABRSM, â€Å"Music Performance Diploma Syllabu s from 2005†, [Accessed 2 December 2009] [iv] Ibid. [v] Ibid. [vi] Philip R. Belt, Maribel Meisel/Gert Hecher, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] (5. The Viennese piano from 1800. ) [vii] Michael Cole, â€Å"Pianoforte†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] (6. England and France, 1800–60. ) [viii] Robert Winter, â€Å"Pianoforte†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] (2. Romantic period) [ix] Alan Walker, et al. , â€Å"Liszt, Franz†, Grove Music Online. Oxford Music Online, , [Accessed 2 December 2009] [x] Howard Ferguson and Kenneth L. Hamilton, â€Å"Study†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] [xi] Franz Liszt, Vingt-quatres grandes etudes pour le piano, 1839, Vienna: Haslinger [xii] Franz Liszt, Etudes d’execution transcendante, 1852, Leipzig: Breitkopf & Hartel xiii] Edward Neill, â€Å"Paganini, Nicolo†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] [xiv] Edward Neill, â€Å"Paganini, Nicolo†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] (7. France and Great Britain, 1831–4, and last years, 1835–40. ) [xv] Ibid. [xvi] Arnold, Denis and Timothy Rhys Jones, â€Å"con certo†, The Oxford Companion to Music Oxford Music Online, [Accessed 2 December 2009] [xvii] Ludwig van Beethoven, Beethoven: The Piano Concertos, Vladimir Ashkenazy, Chicago Symphony Orchestra, cond. by Georg Solti, (Decca, 1995) xviii] Wolfgang Amadeus Mozart, Mozart: The Piano Concertos, Vladimir Ashkenazy, Philharmonia Orchestra, cond. by Vladimir Ashkenazy, (Decca, 1995) [xix] Nicholas Marston, â€Å"Approaching the Sketches for Beethoven's ‘Hammerklavier’ Sonata†, Journal of the American Musicological Society, Vol. 44, No. 3 (Autumn, 1991), p. 404-450, University of California Press on behalf of the American Musicological Society, p. 404 [xx] Ludwig van Beethoven, Piano Sonata no. 29 ‘Hammerklavier’, 1891, Stuttgart: J. G. Cotta Final three bars of first movement – â€Å"Allegro† [pic] [xxi] Andras Schiff, Lecture on Piano Sonata no. 9 ‘Hammerklavier’ by Ludwig van Beethoven, Wigmore Hall, May 2006, Published by The Guardian, [Accessed 2 December 2009] [xxii] â€Å"‘Eroica’ Symphony†, The Oxford Dictionary of Music, 2nd ed. rev. Ed. Michael Kennedy. Oxford Music Online, [Accessed 2 December 2009] [xxiii] Mark Evan Bonds, â€Å"Symphony†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] (II. 19th century, 2. Beethoven) [xxiv] Ibid. [xxv] Joseph Dyer, â€Å"Roman Catholic church music†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] (V. The 19th century, 1. Catholic church music and the Romantic aesthetic. [xxvi] Joseph Dyer, â€Å"Roman Catholic church music†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] (IV. The 18th century) [xxvii] John Spitzer and Neal Zaslaw, â€Å"Orchestra†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] (7. The Romantic orchestra (1815–1900). ) [xxviii] Edward Neill, â€Å"Paganini, Nicolo†,Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] (8. Playing style. ) [xxix] John Spitzer and Neal Zaslaw, loc. cit. [xxx] Ludwig van Beethoven, Symphony no. 9, ca. 1925, Leipzig: Ernst Eulenburg

Essay on Management Accounting and the Modern Business...

Management Accounting and the Modern Business Environment Part-I Over the years global business environment has gone through some massive changes. These changes are due to changes in socio-economic situations, changes in consumers’ demands, changes in technological environment, changes in political scenario etc. Today’s business environment is referred to as the modern business environment which is characterized by globalization, advanced technology, intense competition, powerful customers and consumers, efficient and effective processes, social responsibility etc. Globalization is perhaps the most widely used and investigated terms in the modern business environment. Globalization has removed almost all boundaries among different†¦show more content†¦In the present environment quality of the products and services is a major concern for the organizations. TQM (Total Quality Management) is the result of this concern regarding quality. There are several organizations that have practiced the concepts of total quality management with the objective of improving the quality of their products and services. In Total Quality Management organizations practically aim to minimize the number of defects to zero. Proper application of TQM results in less variation in outputs and innovation of new processes and procedures in both service as well as manufacturing industries (Tennant, 2001). All these above mentioned terms, aspects and factors are integral parts of modern business environment. Management accounting is one of the most important aspects in the modern business scenario. It is different from traditional financial accounting. Management accounting deals with information within the organization in order to help people to improve the effectiveness and efficiency of existing operations and take better decisions (Drury, 2008, pp 387-407). Control is a crucial process in the management accounting process. Control refers to the process of making sure that an organization’s activities are in accordance to the plans so that its objectives can be achieved successfully. In management accounting various terms are used regarding control. Some of these are accounting control system, management accounting control system,Show MoreRelatedResearch on the Influence of Informatization1698 Words   |  7 PagesInfluence of Informatization On The Accounting Theories and Practices and Real-time Control in China Yang Lu Fairleigh Dickinson University RESEARCH ON THE INFLUENCE OF INFORMATIZATION 2 Abstract The 21st century is an information age of rapid development and the computer is more and more widely used in every country. As a development country, China is effecting by the increasing improvement of modern science technology in everyRead MoreExplain How the Role of an Accountant Has Changed over Time. Essay1440 Words   |  6 Pagesaccountant in modern business. I. Introduction. 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