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Bachelor of Applied Business in Music Industry
Are you looking for a career in the music industry as an artist manager, tour manager, event manager, festival organiser, booking agent, publicist or a venue manager? Do you want to work at a record label in A&R, marketing or publicity, or start your own record label? Do you want to be a music supervisor or publisher? The Bachelor of Business in Music Industry will provide you with the skills and experiences you need to excel in these professions.
Real-life industry experiences and facilities include:
- our flagship studio facility, Sing Sing East
- Tremorverse Records – independent record label on campus
- 200+ capacity live venue
- acoustic performance space
- integrate and collaborate with our Sound, Performance & Composition students
- produce, promote and manage live events in the two on-campus venues
- online promotion
- internationally renowned artist in residence programs
- internationally renowned Producer in Residence programs
- digital production suite – for gaming and multi-media production
- professional writing and production suites
The Bachelor of Applied Business in Music Industry is specifically designed to support emerging music professionals with a combination of highly-trained teachers, extraordinary opportunities and unique experiences creating a bridge to industry. The Music Business program is perfect for emerging music professionals that want to make a career in the music and entertainment business.
Students will learn withm and be mentored by, music professionals in an environment that supports and encourages them to achieve industry-ready skills, so they graduate ready to thrive. This is done by integrating real-life experiences in a supportive atmosphere. This fusion of education and industry is reflected in our teachers who, as well as teaching, currently work for or run: publishing companies, record labels, touring companies, music festivals, booking agencies; and entertainment law, public relations and social media companies.
The Music Business students work closely with the Music Performance, Production, and Composition, as well as having access to Graphic Design and Fashion students to create cross-discipline projects in an exciting and talent-rich environment. This results in projects being already underway and gaining traction when the students graduate. There are many examples of a successful career already beginning while still studying.
Student Quote
"Box Hill is actively helping me develop my music business career. The first hand experiences I have had here include setting up my own record label, doing A&R and recording in Sing Sing East. These types of industry opportunities in the Applied Business degree are invaluable…" – Isaac Boribon, 2nd Year Student, Bachelor of Applied Business in Music Industry, 2018
As music is an international language, you may be interested in Study Abroad options.
Keep in touch with us via our BHI music Facebook page.
|Course Code
|VTAC Code
|Box Hill-5100251702;
|CRICOS Code
|Study Areas
Music Business
|Study Level
|Course Type
|Box Hill Campus
|Tuition Fee Type
|Estimated Annual Fee
|International Fee
|Service Fees
|Estimated Annual Fees
|Service & Amenities*
|Core Skills Support**
|Annual Material Fees
|No materials fee applies
|Retain Course Items***
|No fee applies
* Does not apply to VETiS or Short course students.
** Does not apply to VETiS, International students, Short Courses, Graduate Degrees , or re-enrolling students who re-enrol in the same course.
***Retained Course Items are purchased by the student once prior to commencing. The course items bought by the student become the property of the student. Such items retain a generic application for other purposes outside the student's course of study (e.g. textbooks).
Annual student tuition & material fees as published are subject to change given individual circumstances at enrolment. Fees listed are for 2019 and may increase annually over the duration of delivery. Advertised start dates and delivery locations are subject to viable student numbers. For more information please contact our Course Advisors on 1300 BOX HILL.
You must have completed Australian Year 12 , or international equivalent with a pass.
To assist your application you may wish to present a folio demonstrating your experience within the music industry. Interview- you may be asked a series of questions relating to your suitability for the course. You are expected to demonstrate a clear understanding of career goals and aptitude for the course of study including any relevant industry experience.
A minimum IELTS overall score of 6.0 (Academic) with no band less than 5.5. A minimum TOEFL score of 550 for paper examination; 213 for computer based and 79 for Internet based, or approved equivalent.
For other accepted tests, please visit the English Language Requirements page.
Full time: 3 years (classes take place on weekdays and are generally held over 3 - 4 days in the week)
Mode of delivery is face to face.
Year 12 VTAC applicants must have successfully completed VCE with a study score of at least 20 in English.
Direct entry applicants (non-Year 12) must have current employment, or experience, in the industry.
Interview – you will be asked a series of questions relating to your suitability for the course. You are expected to demonstrate a clear understanding of career goals and aptitude for the course of study including any relevant industry experience. You are welcome to present testimonials and extra-curricular evidence at your interview. While not an entry requirement, we highly regard applicants who have participated in Freeza programs.
Successful completion will enable you to apply for:
- postgraduate study in our Masters of International Music Business, or
- further study at other institutions, including postgraduate study in teaching and education.
If you exit having completed the second year of the Bachelor of Applied Business in Music Industry, you will be eligible for an Associate Degree in Applied Business in Music Industry.
Direct entry. See how to apply or contact the international office.
This course is accredited by the Tertiary Education Quality and Standards Agency (TEQSA) and the qualification is aligned with the Australian Qualification Framework (AQF) level 7 and Box Hill Institute Graduate Attributes.
Graduates will:
- have an integrated awareness of the suite of theories, concepts and principles that comprise the essential body of knowledge for local and international music business practice and management which include: business development and practice in appropriate legal and regulatory contexts such as copyright; the relevant application of technology, and its impact on and integration into the music industry; marketing and publishing for 21st century music business
- be able to critically analyse and evaluate commercial and non-commercial music business environments and opportunities, as well as apply the skills necessary to plan and implement business actions such as new venture creation while considering the prospects afforded by globalisation and technological innovation
- independently identify, and creatively and effectively problem solve
- apply quality enhancement skills to all aspects of their music business practice
- communicate clearly to all stakeholders issues, opportunities, plans and evaluations
- independently manage business and successfully adopt supervisory responsibilities in music business organisations
- flexibly apply skills and knowledge of music business to match operational demands of organisations and have a capacity to adapt to diverse and changing environments
- reflect on their own and their team experiences, drawing on rigorous evidence, leading to improved professional practice.
There are many employment opportunities. After successful completion, you may wish to apply for positions within the entertainment and performance industry, such as a:
- booking agent
- artist manager
- record company owner
- event manager
- tour manager
- music publisher
First year: 10 core subjects
Second year: 10 core subjects
Third year: 9 core subjects and an embedded semester length internship
We expect to enrol between 20 and 25 students.
year 1
The purpose of this module is to introduce the student to the different sectors that operate within the music industry: where they come from, what they do and how they do it. The subject offers an historical view of the development of the business side of the music industry. Students will also learn how to operate effectively in the music industry in terms of professional communications. This subject will develop understanding and skills necessary to communicate effectively in the modern Music Business environment. Students will develop their understanding and ability for formal oral and written communication, negotiation, meetings, conflict resolution, problem solving and interpersonal skills within this environment.
Contact hours are 1 hour lecture, 2 hour tutorial each week for 13 weeks.
This core subject offers students an understanding of the historical development, conventions and language associated with music and popular culture, through a study of the comprehensive history of the music industry and associated products from the establishment of colonial America to today. Political climates, world events and shifts in popular culture are examined to reveal how they have shaped the music industry. This subject also considers changes in recording technology, the delivery of recorded products and the impact that those changes have had to date on the music industry.
Contact hours are 1 hour lecture, 2 hour tutorial each week for 13 weeks.
Music Industry Publicity, Promotions & PR provides the student with an understanding of core promotional activities required in todays music industry market, and the ability to incorporate them into an integrated marketing plan. Students will construct strong promotional campaigns across all platforms, and develop skills such as writing media releases, organising news conferences, undertaking media training for artists and briefing agencies, as well as handling communications in a crisis situation. The ethical and regulatory issues that can arise in promotional activity will also be studied.
The aim of this subject is for students to investigate real business scenarios (which present music business opportunities related to music events), design solutions and produce outcomes which are likely to satisfy key participants and stakeholders. With a focus on planning and delivering events through the innovative Music Industry Business Office (MiBO), the subject aims to create practical and real workplace skills that are applicable to the music industry and in wider business scenarios.
Contact hours are 1 hour lecture, 1 hour tutorial for 13 weeks.
Assessment: Assessment 1: Weekly Group Report - Group Presentations, 10 minutes each, 20% Assessment 2: Project Brief, length 800 words, 20% Assessment 3: Network database creation, length 800 words, 20% Assessment 4: Reflective Journal, length 1600 words, 40%
This subject is the first in a suite of subjects that aims to build students skills and knowledge in terms of computer technology applications, as they apply to a Music Business workplace environment where concepts, knowledge, and skills acquired can be transferred into practical application. Students will familiarise themselves with common Music Business workplace software programs and applications and will set the foundation for future computer technology subjects via the use of practical computing skills.
Contact hours are 1 hour lecture, 1 hour tutorial each week for 13 weeks.
Assessment: Assessment 1: Office Suite Documents, 8 x 1 page documents, 30% Assessment 2: Promotional Materials, 5 x 1 page documents, 40% Assessment 3: Adobe Suite Documents, 5 x 1 page documents, 30%
Music Industry Studies 2 continues directly from Music Industry Studies 1. Students will expand upon and consolidate concepts, knowledge, understanding and skills concerning the music industry with a particular focus on conceptual and theoretical understanding of the principles, practice, roles and functions of band and artist management and administration. Students will develop key skills of band and artist management.
Contact hours are 1 hour lecture, 2 hour tutorial each week for 13 weeks.
This subject serves as an introduction to the operation of law in Australian industry and commerce. It addresses the Australian legal system, sources of law, the law of contract including the law relating to professional negligence. This subject considers contract law in relation to its application in common music industry contracts such as recording and publishing deals, artist management contracts and venue agreements.
Contact hours are 1 hour lecture, 2 hours tutorial each week for 13 weeks.
The aim of this subject is to provide students with relevant business approaches and principles to successfully work within the music industry. This subject provides students with a thorough conceptual understanding of marketing principles and fundamentals. The key focus will be on the application of these concepts to all aspects of the music industry, including music-specific topics such as image making for performing artists and the practice of public relations.
Contact hours are 1 hour lecture, 2 hour tutorial each week for 13 weeks.
This is a workshop-based subject that mentors students through the process of booking and promoting multi-bill shows at established venues. Students will build on skills developed in Applied Business 1 with an increased focus on promotional and communication skills, as well as further emphasis on finding and developing talent.
Contact hours are 1 hour lecture, 1 hour tutorial each week for 13 weeks.
Prerequisites: BAB114 Applied Business 1
Year 2
This subject further develops knowledge and skills in the Music Industry suite of subjects. The first part of this subject looks at record companies in depth: their history, structures and operations, and contracts. It will consider the different types of recording deals and contracts available. The subject will then consider how to choose the best deal for an artist and how to fulfil the artist's contractual obligations. The subject covers the skills required by artists or their managers to gauge specific recording contract potential for best fit with the music act. The second part of this subject involves the research, planning, preparation and successful completion of an Artist & Repertoire (A&R) Journal. Students will learn the fundamentals of A&R, including production schedules, recording processes, release schedules, budgeting for a release and presenting a pitch. Assessment will enable students to undertake the A&R procedure with a real band of their own selection.
Contact hours are 1 hour lecture, 2 hour tutorial each week for 13 weeks.
This subject presents an introduction to the provision and management of special events such as music festivals, local music shows, state-wide and national touring. Students will learn the critical elements of creating, staging and facilitating music events such as securing venues, catering, logistics, safety and risk, travel, accommodation, band requirements and marketing. Students will also gain an understanding of the role that these events play in society, and how they contribute to, and impact upon, host communities.
Contact hours are 1 hour lecture, 2 hour tutorial each week for 13 weeks.
This subject provides students with a comprehensive understanding of key concepts pertaining to music copyright and considers the fundamental role that it plays in the exploitation of music, artwork, photography, film and merchandising, as they relate to the music industry. The principles and functions of collection societies and of copyright-generated royalties are also considered. International systems for copyright exploitation and protection will be studied and this subject concludes with consideration being given to the future of copyright and possible changes in current legislation.
Contact hours are 1 hour lecture, 2 hour tutorial each week for 13 weeks.
This is a practical subject that builds on skills and knowledge acquired in the previous subjects in this stream. The aim of this subject is to mentor students through the process of creating and maintaining a functioning and profitable on-campus 360-degree record label. Artists will A&R and sign artists, organise distribution, marketing, international licensing, and book shows, including supports, and tours. The structure of the group will mirror the organisational structure of a record label with various departments responsible for the different label functions. Each artist will have a label manager responsible for overseeing the functions of the label in respect of the artists signed.
Contact hours are 1 hour lecture , hour tutorial for 13 weeks,
This subject builds on skills and knowledge acquired in the 'Technology Applications' suite of subjects. The subject will discuss the concept of social media and the evolution of this new form of communication from simple online communities to large networks. The role of technology in changing the techniques marketers use to communicate with their consumers will be investigated, including business strategies for incorporating social media into marketing and promotions, and how this technology can be effectively managed and controlled. This subject will investigate how consumers use social media to circumvent the traditional methods of marketing and promotion and begin talking directly with other consumers via technologies like Facebook and Twitter. The subject analyses underlying theories of community and how Web 2.0 technology has enhanced this concept of online communities and social networks to incorporate the Internet. The subject will also provide students with hands-on experience including the creation of marketing and products using Web 2.0 technology.
Contact hours are 1 hour lecture, 1 hour tutorial each week for 13 weeks.
This subject explores the body of knowledge that constitutes the evolving nature of the music industry, and provides a thorough theoretical foundation and understanding of the functions, driving forces and operations that shape this industry. In this subject, which continues from Music Industry Studies 3, students will expand upon and consolidate concepts, knowledge, understanding and analytical thinking as they consider the future of the music industry. This subject provides a conceptual framework for students to evaluate the current trends and changes within the music industry, impacts of changes in the operating environment and possible outcomes and future projections. Students will explore how the music of the future will be delivered and accessed by consumers. It is expected that students will develop maturity in undertaking self-initiated and self-directed work, reflective thinking and practice, creativity and innovation, and critical evaluation of their own work.
Contact hours are 1 hour lecture, 2 hour tutorial each week for 13 weeks.
This subject introduces the underlying general principles and practices of accounting, a framework that represents an international 'language of business'. This subject enables stakeholders to explain and apply the concepts underlying accounting systems and practice. Students will understand how accounting reports and financial statements can inform decisions made for organisations, including those taken by managers and stakeholders, and the basis upon which useful financial information is sourced, prepared, and presented.
Contact hours are 1 hour lecture, 2 hour tutorial each week for 13 weeks.
This subject provides students with a comprehensive understanding of key concepts in music publishing. The principles and functions of the publishing industry as a system within the music industry, and role of the publisher in collecting copyright-generated royalties are also considered. This subject includes an in-depth study of the different types of publishing contracts and dissects some typical publishing contracts. Students will be able to use contracts to determine deal points that will assist them in calculating publishing income.
Contact hours are 1 hour lecture, 2 hour tutorial each week for 13 weeks.
This is a practical, workshop-based subject that aims to mentor students through the process of creating and maintaining a functioning and profitable campus, 360-degree record label. Building on the skills and knowledge developed in Applied Business 3, students will further their skills in the knowledge of distribution, marketing and promotions, international licensing, and book shows for their artists, including supports and tours. The structure of the group will mirror the structure of a record label with different departments responsible for various label functions. Students will work in small groups of 2-4 students.
Contact hours are 1 hour lecture, 1 hour tutorial each week for 13 weeks.
This subject builds on skills and knowledge acquired through the 'Technology Applications' stream. This subject will develop the basic skills of website authoring, from design to implementation. Students will develop skills in the creation of digital content for a Content Management System (CMS) and learn how to apply principles of web design to develop a website using a CMS.
Contact hours are 1 hour lecture, 1 hour tutorial each week for 13 weeks.
Year 3
This subject presents an introduction to social science research methodology and business statistics. It seeks to provide students with critical thinking and analytical skills as applied to empirical research. The subject consists of two sections: the first deals with social and business research methods as well as contemporary research issues; the second covers basic descriptive and inferential statistical techniques.
Contact hours are 1 hour lecture, 2 hour tutorial each week for 13 weeks.
This subject builds on knowledge and skills acquired in the Music Industry Studies stream. The subject will examine theory and policies relating to international business from a management and organisational perspective. Topic areas will include international trade, foreign investment, international finance and consideration of the Australian music industry in the international context. The approach taken will be to demonstrate the similarities in theoretical perspectives between the Australian music industry and international markets, in order to allow students to analyse opportunities to develop international business. There will be an emphasis on the import and export of the artist and music products.
Contact hours are 1 hour lecture, 2 hour tutorial each week for 13 weeks.
This subject builds on knowledge and skills acquired in the Applied Business suite of subjects. In this subject, using collaborative investigative, planning and management methods students will acquire, and apply, knowledge and key practical skills that prepare them for entry into the music industry. A significant reference will be made to import/export initiatives working in concert with the Music Industry Studies 5 (International Business) subject. The campus record label—Boxer Records—component of the subject will study the key elements of applied research and entrepreneurial thinking in relation to idea and business creation, and the contextual potential of the music video. It will also consider the current climate of the music industry, so that students can ally entrepreneurial thinking to their own music industry careers. Students will be actively encouraged to continue developing their business networks with a view to gaining potential internships for the upcoming semester.
Contact hours are 1 hour lecture, 1 hour tutorial each week for 13 weeks.
This subject builds on skills and knowledge acquired in the 'Technology Applications' stream of subjects. In this subject, students will develop, analyse, and conceptualise and create content-rich media that meets the needs of music industry clients. To reach the maximum potential audience, artists and music businesses need to have a wide range of content-rich media available for use as promotional tools. This subject aims to provide students with skills, knowledge and the technical ability to allow them to assess and analyse the multimedia needs of their clients. Students will generate different types of media suitable for different types of client groups. The types of media skills required include shooting and editing video, embedding content into media, creating animations, and considering appropriate file type conversion, and merging and synchronising different media such as audio/film/graphic material.
Contact hours are 1 hour lecture, 1 hour tutorial each week for 13 weeks.
This unit provides students with an understanding of entrepreneurship, innovation and new venture generation, and start-up. Students will learn how to leverage business management knowledge and use it successfully in entrepreneurial ventures. A key focus will be the development of enterprising and entrepreneurial attitudes, skills and behaviours, to ensure the effective establishment of ideas, management or work, regardless of organisational context.
Contact hours are 1 hour lecture, 2 hour tutorial each week for 13 weeks.
This subject explores the body of knowledge surrounding management theory and practice, and evaluates the impact on management decision-making in the Australasian context. The subject develops student understanding of the changing contexts of, and demands on, management, particularly as relevant to Music Business. Theories and practices of individual and group behaviour in the context of organisations and their environment are explored. This subject provides fundamental knowledge and skills for students planning a career within organisations. The nature, contexts and practices of management and leadership, change management, human resource management and time management will be studied through theory, case studies and the sharing of personal experiences.
Contact hours are 1 hour lecture, 2 hour tutorial each week for 13 weeks.
Students will learn about the theory and nature of sound and develop fundamental skills in understanding audio signal flow, music recording and the use of advanced music recording software and digital audio workstations. The key outcomes for students are to gain a working knowledge of studio production principles and practices, as well as the knowledge and language needed to communicate with professionals in team settings on music initiatives. Students will record and manipulate audio, work with midi, edit and use effects, and mix a final product. Students explore the aesthetics of music and are challenged to review music from a wide range of genres and styles. Students will gain skills and knowledge in the perception and descriptions of music, as required for working in the music industry. Further, students will develop the capacity to assess artists, performances and recordings in a wide range of styles and genres in relation to social and cultural contexts in which the music is produced and presented.
Contact hours are 2 hour lecture, 2 hour tutorial each week for 13 weeks.
This subject builds on knowledge and skills acquired through the 'Music Industry Studies' subject stream. Through this particular subject, students will gain a thorough understanding of sources of funding available to support the music industry, including government grants. They will gain a comprehensive conceptual understanding of the Federal and State funding frameworks, the principles of grant writing, evaluation and management, and the responsibilities of individuals and entities funded by the taxpayer. This subject will include developing an understanding of entrepreneurial innovation and export grants, as well as traditional arts funding sources.
Contact hours 1 hour lecture, 2 hour tutorial each week for 13 weeks.
This subject aims to provide knowledge and skills needed to successfully manage a career, and work professionally in the music industry. Conceptual, procedural and dispositional capacities will all be considered. Students will gain an understanding of their own strengths, weaknesses, knowledge, skills, abilities, graduate attributes and employability skills. Students will reflect on their profile using this broad framework and apply it to a career management strategy. At the end of this subject the student will have completed a music industry internship that will complement their career development goals. Students will be involved in activities within a professional Music Business environment, which could include a record label, a music publishing business, performance venue, or a promotional entrepreneur, for example. The student will execute and then review their internship as they observe, gain, analyse and critically assess skills and knowledge gathered in this placement, and reflect on the implications for and refine future career goals and directions. Students will be supervised by an industry professional, and/or, an academic mentor. The internship must be negotiated with, and approved by, the subject co-ordinator.
Contact hours are: 1 hour lecture per week for 13 weeks, and 12 full days at the students' internship site.


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text:
Playing tracks by
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the summer is nearly upon us Gardeners and it's that time to get you all in the sunshine mood! So take five and enjoy this sweet selection by one of our residents OLE SMOKEY a man who takes you to those lazy hazy afternoons! in celebration of our new found Tisno paradise!
See you in the sunshine x
This is perfect, beautiful and yep, I can almost feel the warm rays of that sunshine... Cheers my friend!


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Dec 06, 2018


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A Struct in redpipe is a dictionary-like object with persistence built in.
Easy, Efficient I/O¶
You want to be able to load data and persist it into a hash and still preserve the data-type of the original structure. We gave redpipe.Hash the ability to type-cast variables stored in redis. But we could make it more convenient to fetch and save data as objects.
That's where redpipe.Struct comes in.
Defining a Struct¶
Here's an example of how to define a Struct.
# assume we already set up our connection
# set up a struct object.
class User(redpipe.Struct):
keyspace = 'U'
key_name = 'user_id'
fields = {
'name': redpipe.TextField,
'last_seen': redpipe.IntegerField,
'admin': redpipe.BooleanField,
'page_views': redpipe.IntegerField,
A lot of this looks very similar to how we defined redpipe.Hash. That's because struct is built on top of the Hash object. It allows you to access data from a hash in a more object oriented manner.
The Struct does not enforce required fields on any of this data. Just as a redis hash object does not. It is up to your application logic to enforce these constraints.
The rule is that if the element is in the hash, it will be coerced into the appropriate data type by the fields definition. If an element in the hash is not mentioned in the fields it is coerced into a TextField.
You can override this default behavior by defining valueparse.
class User(redpipe.Struct):
keyspace = 'U'
key_name = 'user_id'
fields = {
# ...
valueparse = redpipe.AsciiField
This example will force all values not listed in fields to be set as ascii values in redis. (It does not coerce values already in redis to be ascii tho. It will treat them as text.)
You can specify an alternate redis connection if you are using multiple redis connections in your app.
class User(redpipe.Struct):
keyspace = 'U'
key_name = 'user_id'
fields = {
# ...
connection = 'users'
The string value users refers to a connection you have added in application bootstrapping. See the Named Connections section of this documentation.
Creating New Structs¶
Let's create a few user objects using our Struct. The first argument is always either the key or the data.
We pass in a pipeline so we can combine the save operation with other network i/o.
with redpipe.autoexec() as pipe:
# create a few users
ts = int(time.time())
u1 = User({'user_id': '1', 'name': 'Jack', 'last_seen': ts}, pipe=pipe)
u2 = User({'user_id': '2', 'name': 'Jill', 'last_seen': ts}, pipe=pipe)
# these model objects print out a json dump representation of the data.
print("first batch: %s" % [u1, u2])
# we can access the data like we would dictionary keys
assert(u1['name'] == 'Jack')
assert(u2['name'] == 'Jill')
assert(isinstance(u1['last_seen'], int))
assert(u1['user_id'] == '1')
assert(u2['user_id'] == '2')
When we exit the context, all the structs are saved to Redis in one pipeline operation. It also automatically loads the other fields in the hash. Since the commands are batched together, you can write the fields then read the hash in one pass. If you don't want it to read, you can set the fields to an empty array.
Accessing the Data¶
RedPipe exposes the variables from redis as elements like a dictionary:
user = User({'user_id': '1', 'name': 'Jack'})
assert(user['name'] == 'Jack')
Here, we accessed the name field of the redis hash as a dictionary element on the user object. This data is loaded from redis inside the object on instantiation by calling hgetall() on the key. The data is cached inside the struct.
You can coerce the objects into dictionaries.
user = User({'user_id': '1', 'name': 'Jack'})
assert(dict(user) == user)
This just takes all the internal data and returns it as a dictionary. If you don't define a _key_name on the object, it defaults to the field name '_key'. This primary key is not stored inside the hash. It is embedded in the redis object key name. This is more efficient that storing it both in the name of the key and as an element of the hash. It also avoids problems of accidentally creating a mismatch.
You can compare the user Struct to a dictionary for equality.
user = User({'user_id': '1', 'name': 'Jack'})
assert(dict(user) == user)
There is an __eq__ magic method on Struct that allows this comparison.
You can iterate on the object like a dictionary:
user = User({'user_id': '1', 'name': 'Jack'})
assert({k: v for k, v in user.items()} == user)
You can see the user object has an items method. There is also a iteritems method for backward compatibility with python 2. The iteritems method is a generator, whereas items returns a list of key/value tuples.
You can access an unknown data element like you would a dictionary:
user = User({'user_id': '1', 'name': 'Jack'})
assert(user.get('name', 'unknown') == 'Jack')
The get method allows you to pass in a default if no key is found. It defaults to None.
You can check for key existence:
user = User({'user_id': '1', 'name': 'Jack'})
assert('name' in user)
assert('non-existent-name' not in user)
The magic method __contains__ looks for the key in the internal dictionary, or the _key_name field.
You can check the length of a struct:
user = User({'user_id': '1', 'name': 'Jack'})
assert(len(user) == 2)
This will include the primary key, so it should never be less than 1. A Struct object will always have a primary key.
You can get the keys of a struct:
user = User({'user_id': '1', 'name': 'Jack'})
# returns a list but we don't know the order
# coerce to a set for comparison
assert(set(user.keys()) == {'user_id', 'name'})
The _key_name will show up in this list. If no _key_name is defined, you will see _key in the list of keys.
Many ORMS set the data as attributes of the object. RedPipe does not. This makes it easier to differentiate methods of the object from the data. It also avoids difficulty of data elements that don't obey the pythonic naming conventions of object attributes.
You can have a element name that would otherwise be illegal.
# this wouldn't work, syntax error
# user.full-name
# but this will!
Modifying Structs¶
Let's read those two users we created and modify them.
with redpipe.autoexec() as pipe:
users = [User('1', pipe=pipe), User('2', pipe=pipe)]
ts = int(time.time())
users[0].update({'name':'Bobby', 'last_seen': ts}, pipe=pipe)
print([dict(u1), dict(u2)])
When you pass just the key into the object it reads from the database. Then we can change the fields we want at any point. Or we can remove fields we no longer want.
Fields that are undefined can still be accessed as basic strings.
We can remove a field and return it like we would popping an item from a dict:
with redpipe.autoexec() as pipe:
user = User({'user_id': '1', 'name': 'Jack'}, pipe=pipe)
name = user.pop('name', pipe=pipe)
assert(name == 'Jack')
assert(user.get('name', None) is None)
This doesn't just pop the data from the local data structure. It also pops it from redis. Use at your own risk.
You don't have to use a pipeline if you don't want to:
user = User({'user_id': '1', 'name': 'Jack'})
name = user.pop('name')
assert(name == 'Jack')
assert(user.get('name', None) is None)
But then you pay for two network round-trips.
If you want to ensure you don't modify redis accidentally, coerce your user object into a dictionary.
You can increment a field:
with redpipe.autoexec() as pipe:
user = User({'user_id': '1', 'name': 'Jack'}, pipe=pipe)
user.incr('page_views', pipe=pipe)
assert(user['page_views'], 1)
As with the pop example, you can use a pipe or not. There's also a decr method which is the inverse.
Using the Underlying Hash¶
Because the struct is based on a redpipe.Hash object, you can access the underlying Hash. This is pretty helpful if you need to extend the functionality of your struct. From our earlier User struct example:
username = User.core().hget('1', 'name')
Deleting Structs¶
to delete all the data in a struct, use the same syntax as you would for a dictionary:
user = User('1')
Of course you can pipeline it:
with redpipe.autoexec() as pipe:
user = User('1')
If you need to delete a record without loading the record, you can call the Struct class method:
with redpipe.autoexec() as pipe:
User.delete(['1', '2', '3'], pipe=pipe)
Extra Fields¶
I touched on it briefly before, but you can store arbitrary data in a struct too.
user = User({'user_id': '1', 'arbitrary_field': 'foo'})
assert(user['arbitrary_field'] == 'foo')
The data will be simple string key-value pairs by default. But you can add type-casting at any point easily in the fields dictionary.
Temporary Structs¶
Sometimes you want to be able to use a data structure but you only need it for a few hours. Redis has the concept of setting an expiry on any key via:
redis-cli EXPIRE key
You can do the same in redis-py and redpipe keyspaces with the expire method. With structs, many of those low level operations are abstracted away. You can always access the underlying hash object directly:
User.core().expire('1', 3600)
This feels a little awkward and will be applied inconsistently in your code. Instead, I recommend using the optional ttl property on the Struct.
class User(redpipe.Struct):
keyspace = 'U'
key_name = 'user_id'
fields = {
# ...
ttl = 3600
This will cause the object to expire one hour after it was last updated by any write operation in the struct.
Why Struct and not Model?¶
I chose the name Struct because it implies a single, standalone data structure. You clearly define data structure of the struct. And you can instantiate the struct with many records. The word Struct doesn't imply indexes or one-to-many relationships the way the word Model does.
Why no ORM?¶
An Object-Relational Mapping can make life much simpler. Automatic indexes, foreign keys, unique constraints, etc. It hides all that pesky complexity from you. If you want a good ORM for redis, check out ROM. Or redish. Both are pretty cool.
RedPipe does not provide you with an ORM solution.
Choose Redpipe if you really care about optimizing your network i/o.
To optimize redis i/o, you need to batch command operations together as much as possible. ORMs often hide things like automatic unique constraints and indexes beneath the covers. It bundles lots of multi-step operations together, where one operation feeds another. That makes it tricky to ensure you are batching those operations efficently as possible over the network.
RedPipe exposes low level redis command primitives. Inputs and outputs. This allows you to construct building blocks that can be pipelined efficiently.


text:
By Geoffrey Hodson
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Additional info for Fairies at Work and Play
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Fairies at Work and Play by Geoffrey Hodson
by Brian


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Iron TikiTender goes on tour: Deadline looms for Atlanta regional competition
Bartenders who hope to gain bragging rights in the Tiki cocktail world have until Monday, Jan. 14, to enter a new regional competition and earn a chance to compete in the finals this summer at Tiki Kon in Portland. Continue reading
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Breaking news and expert analysis on legal and compliance issues
From Health Law Daily, March 21, 2013
By Sheila Lynch-Afryl, JD, MA
The Medicaid statute's anti-lien provision preempted North Carolina's irrebuttable statutory presumption that one-third of a tort recovery is attributable to medical expenses (Wos v E.M.A., March 20, 2013, Kennedy, A). States are required, in administering their Medicaid programs, to seek reimbursement for medical expenses incurred on behalf of beneficiaries who later recover from third-party tortfeasors. North Carolina enacted a statute that it interpreted as establishing an irrebuttable presumption that one-third of a tort recovery is attributable to medical expenses. The North Carolina statute conflicted with 42 U.S.C. §1396p(a)(1), which prohibits states from attaching a lien on the property of a Medicaid beneficiary to recover benefits paid by the state on the beneficiary's behalf. Accordingly, the state statute was preempted.
Background. E.M.A. suffered severe birth injuries, which will require 12 to 18 hours of skilled nursing care a day for the rest of her life. Her parents filed a lawsuit against the doctor who delivered E.M.A. and the hospital where she was born. In 2006, the case settled for $2.8 million, apparently dictated in large part by the limits on the defendants' medical malpractice insurance coverage, despite expert testimony that damages exceeded $42 million. Pursuant to N.C.G.S. §108A-57(a), the court placed one-third of the $2.8 million settlement into an escrow account pending determination of the actual amount of the lien owed by E.M.A. to the state. E.M.A. and her parents filed suit, arguing that North Carolina's reimbursement scheme violated the Medicaid anti-lien provision.
Conflict in decisions. The Fourth Circuit concluded that North Carolina's statutory presumption must be subject to adversarial testing in a judicial or administrative proceeding. In a different case, however, the North Carolina Supreme Court found that the presumption was a reasonable method for determining the state's medical reimbursements. The U.S. Supreme Court granted certiorari to resolve the conflict.
Preemption. In Arkansas Dept. of Health and Human Services v Ahlborn, 547 U.S. 268 (2006), the Supreme Court found that federal law permits an assignment to the state of the right to recover portions of a settlement representing payments for medical care, but it precludes attachment of the remainder of the settlement. Post-Ahlborn, North Carolina began interpreting its statute as defining the "portion of the settlement that represents payment for medical expenses" as the lesser of the state's past medical expenditures or one-third of the plaintiff's total recovery.
The Supreme Court noted that statute allows the state to take one-third of the total recovery, even if a smaller percentage could be attributed to medical expenses. An irrebuttable statutory presumption is incompatible with the Medicaid statute's clear mandate that a state may not demand any portion of a beneficiary's tort recovery except the part that is attributable to medical expenses. The Court found that because a conflict existed between the North Carolina statute and the Medicaid anti-lien provision, the state statute was preempted.
Dissent. Justices Roberts, Scalia, and Thomas dissented, arguing that the state statute was not preempted because there are no federal requirements outlining how to determine what portion of a settlement represents payment for medical care. The dissent found North Carolina's approach reasonable and concluded that deciding on an approach for allocating medical versus nonmedical expenses should be a joint venture between the states and the federal government.
The case number is 12-98.
Attorneys: John F. Maddrey, North Carolina Department of Justice, for Aldona Wos, Secretary, North Carolina Department of Health and Human Services. Louis M. Bograd (Center for Constitutional Litigation, P.C.) for American Association for Justice. Christopher Egleson (Akin Gump Strauss Hauer & Feld, LLP) for National Governors Association. Allison O. Van Laningham (Smith Moore Leatherwood LLP) for Federation of Defense and Corporate Counsel. Elizabeth B. Wydra (Constitutional Accountability Center) for AARP.
Companies: North Carolina Department of Health and Human Services; American Association for Justice; National Governors Association; Federation of Defense and Corporate Counsel; AARP
MainStory: TopStory PreemptionNews MedicaidNews NorthCarolinaNews SupremeCtNews
Introducing Wolters Kluwer Health Law Daily a daily reporting service created by attorneys, for attorneys providing same-day coverage of breaking news, court decisions, legislation, and regulatory activity.


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The sun shines at its brightest and there is intense heat. Yeh Jun, Julai aur Agast. In this festival, people are drinking and eating.
It starts from the February and finishes till the middle of April. The mango, the King of fruits, is the special fruit of this season. Even though it is cold, there are lots of fun that happens during this season and we all thoroughly enjoy spending winter vacations in the company of each other.
There is nothing but colour everywhere. Internet URLs are the best.
Educational tours are taken out in large numbers even to the distant parts of the country. People rarely come outdoors until daylight; most sit indoors by the fireside in the mornings and evenings.
In this season there is neither too cold nor too hot. Uh Oh There was a problem with your submission. Colours denote energy-the vivid, passionate pulse of life. Don't worry about missing a deadline, we've got you covered. The rain washes down all dust from trees and plants and all nature appears green and beautiful.
It brings glory and happiness in this season. People turn to be creative during the spring season. People most enjoy the Holi season. You may join me on Facebook Related Post. It is this season when the earth was honoured by the birth of Shri Ram Chandra. Thus, the festival of colours i. The load shedding of the natural gas is being done for two reasons as the state is left with very limited resources of natural gas and secondly due to the cold weather and low temperatures the gas freezes up which make it stuck in the pipe lines.
We have only pleasure all around and we never get tired of it.
There is no one who does not praise the beauty of the spring. The people have a sigh of relief as the rainy season begins and the first showers fall. After snowboarding for a few days, we switched to skiing.
Celebrating Christmas, with so much snow is great and we went to our Aunts place for Christmas last time. They make us feel healthy and active. Submit Tips For Editing We welcome suggested improvements to any of our articles. I like to travel to visit new places and spending quality time with friends and family on summer vacations.
With plenty of gifts received, so much of yummy food prepared, Christmas really was one among a memorable event for all of us. The spring revels reach a climax during the Holi festival in March.
There we find nature in its full bloom. We feel fresh all the time and this is the main attraction of the spring. In autumn, the weather gets colder and the leaves fall off the trees.
Generally winters get started in Pakistan from the month of November when the strength of heat is being broken and after few heavy rainfalls the strong and chill winds from the west of Pakistan enters the country and that is the initiative taken for the welcoming of the winters.
Most of the poets sung a song for this beautiful season. We make games while we do the work, to make it more interesting and creative, and sometimes we also make the lovely snowman from the snow that we shovel out. The sight of mountain isn't less beautiful.
Flowers bloom and spread their sweet fragrance all around. It is a matchless season and therefore all welcome it with full heart. To begin with, during the first week of vacation, I went snowboarding along with my friends.
It brings extraordinary beauties and charms. · Read this short essay on Summer Season! In the northern hemisphere, summer is the warmest season of the year; extending from the summer solstice through to the autumnal equinox.
This season introduces the raining season, because of the heat, water is evaporated and the vapours are safely stored in agronumericus.com A season of festivals.
The spring season is important for farmers. Crops ripen in the fields. Farmer's stores wheat and barley at home. Everybody feels a sense of joy and agronumericus.com://agronumericus.com · Climate of Pakistan Pakistan map of Köppen climate classification. Pakistan recorded one of the highest temperatures in the world – °C ( °F) – on 26 Maythe hottest temperature ever recorded in Pakistan, but also the hottest reliably measured temperature ever recorded on the continent of agronumericus.com://agronumericus.com · Hello, can anybody check for me my essay, please.
Two weeks ago I came back from holiday. I had gone to Turkey. The weather was great albeit I was imprisoned in the hotel for two days becouse of heavy agronumericus.com://agronumericus.com /threads/Essay-about-my-holiday. · Pakistan (Urdu: پاکِستان There is a monsoon season with frequent flooding due to heavy rainfall, and a dry season with significantly less rainfall or none at all.
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