Source: Lowepro Adventura SH 120 II торбица за Nikon D-SLR D3200
Year: 2019
Dual use rights Office365
The Licensing How To series posts are provided by our Customer Service Presales and Licensing team members. These scenario based licensing topics are written on trending topics and issues based on their interactions with customers, Partners and field sellers. For more posts from the Licensing How To series, search the “Licensing How To” tag on this blog.
A frequently asked Office 365 licensing question that we address on our Team is: what happens if I buy Office 365 but continue to run on premises workloads for certain products? We’ve seen Office 365 Community Forums and other sites light up with something called “dual use rights,” “on premises use rights,” or “on premises access rights.” What does this mean, and how does it apply to me? Well, the short answer is, it depends. The basic licensing concept is if you’ve purchased a User Subscription License (User SL, or USL) for an Office 365 Service, that user is licensed to access the equivalent workload(s) running on premises. While the applicable application server CALs are not included in the Office 365 User subscription License, a CAL equivalency use right is included to access the on premises application server.
At a high level, it works like this: Users licensed for applicable/eligible Office 365 services have use rights equivalent to a CAL for the purpose of accessing equivalent on premises workloads. For example, a user licensed for Exchange Online Plan 2 can use their USL to access Standard and Enterprise CAL features of an on premises Exchange Server. Below is a table with the three Office 365 services which have “on premises access rights.” On the left and center columns we listed the on premises product and CAL type. On the right column, we note the Office 365 User SL with rights equivalent to the on premises product and functionality.
On Premises Product
|
On Premises functionality
|
Office 365 User SL equivalent
|
Exchange Server
|
Standard CAL
|
|
Enterprise CAL
|
|
|
SharePoint Server
|
Standard CAL
|
|
Enterprise CAL
|
|
|
Lync Server
|
Standard CAL
|
|
Enterprise CAL
|
|
|
Plus CAL
|
|
|
Please note that applicable CAL Suite Bridge licenses may be required for on premises access
to workloads not included (i.e. Windows Server) in the Office 365 User Subscription License, see the applicable product specific sections in the Product Use Rights document |
Source: Dual use rights Office365 | Software Asset Management
Clearing up confusion about Office 365 Equivalency Use Rights | The EXPTA {blog}
Clearing up confusion about Office 365 Equivalency Use Rights
Friday, February 22, 2019
Office 365 equivalency licenses only provide user use rights, not server rights. In other words, O365 licenses are equivalent to Exchange Server Client Access Licenses (both Standard and Enterprise) and Windows Server CALs, but you still need server licenses to run Exchange Server on Windows Server on premises.
One exception to this rule is that your Office 365 subscription let’s you use the free hybrid key to run an Exchange hybrid management server. An important caveat here is that the hybrid server cannot be used to host user mailboxes and you may still need a server license for Windows Server. The free hybrid key is available to all Enterprise Office 365 customers, even if they get their license from the CSP channel which says it’s “Not On Premises Capable — Cloud only rights”.
Source: Clearing up confusion about Office 365 Equivalency Use Rights | The EXPTA {blog}
Ostinato
In music, an ostinato [ostiˈnaːto] (derived from Italian: stubborn, compare English, from Latin: ‘obstinate’) is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include both classical compositions such as Ravel‘s Boléro and the Carol of the Bells, and popular songs such as Donna Summer and Giorgio Moroder‘s “I Feel Love” (1977), Henry Mancini’s theme from Peter Gunn (1959), The Verve‘s “Bitter Sweet Symphony” (1997), and April Ivy‘s “Be Ok” (1997).
In RCM (Royal Conservatory of Music), a level 8 theory definition[clarification needed] for the term “ostinato” would be referred to as “a recurring rhythmic or melodic pattern”.[citation needed] The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself. Both ostinatos and ostinati are accepted English plural forms, the latter reflecting the word’s Italian etymology. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys.
If the cadence may be regarded as the cradle of tonality, the ostinato patterns can be considered the playground in which it grew strong and self-confident.
— Edward E. Lewinsky[5]
Within the context of film music, Claudia Gorbman defines an ostinato as a repeated melodic or rhythmic figure that propels scenes that lack dynamic visual action.
Ostinato plays an important part in improvised music (rock and jazz), in which it is often referred to as a riff or a vamp. A “favorite technique of contemporary jazz writers”, ostinati are often used in modal and Latin jazz and traditional African music including Gnawa music.
The term ostinato essentially has the same meaning as the medieval Latin word pes, the word ground as applied to classical music, and the word riff in contemporary popular music.
Source: Ostinato – Wikipedia
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