Clearing up confusion about Office 365 Equivalency Use Rights | The EXPTA {blog}

Jovan Stosic August 12, 2019

Clearing up confusion about Office 365 Equivalency Use Rights

Friday, February 22, 2019

You may have heard about “Office 365 equivalency rights” or “dual use rights”. These rights allow users to access on premises servers, such as Windows Server, Exchange Server, SharePoint Server, and Skype for Business Server using their Office 365 E3 or E5 licenses.

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

Jovan Stosic August 12, 2019

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