Diggale
- Ismael Lo (author, composer, lead vocal, rhythm guitar, harmonica, chorus), EH. Malick Diouf (solo guitar, arrangments), Paul Thierry Oliveira (keyboard, arrangments), Alioune Wade (bass guitar), El Hadji Faye (percussion), Figaro Diagne (marimba), Abib Ndiaye (drums), Thirifays Claude (saxophone), Ramirez Jean Pierre (trumpet), Welch Jean Marc (trombone), Thione Ballago Seck (performer), Amy Bambe (chorus), Studio 2000, Samassa Records
- Authors: Ismael Lo (author, composer, lead vocal, rhythm guitar, harmonica, chorus) , EH. Malick Diouf (solo guitar, arrangments) , Paul Thierry Oliveira (keyboard, arrangments) , Alioune Wade (bass guitar) , El Hadji Faye (percussion) , Figaro Diagne (marimba) , Abib Ndiaye (drums) , Thirifays Claude (saxophone) , Ramirez Jean Pierre (trumpet) , Welch Jean Marc (trombone) , Thione Ballago Seck (performer) , Amy Bambe (chorus) , Studio 2000 , Samassa Records
- Date: 1999
- Subjects: Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130137 , vital:36379 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC38-02
- Description: Mbalax sound is characherised by Senegalese nder lead drum, sabar rhythm drum and tama talking drum percussion and African and Arabic vocalistic styling in the Wolof language that accompanies Western keyboard and other electronic guitar and brass instruments
- Full Text: false
- Date Issued: 1999
- Authors: Ismael Lo (author, composer, lead vocal, rhythm guitar, harmonica, chorus) , EH. Malick Diouf (solo guitar, arrangments) , Paul Thierry Oliveira (keyboard, arrangments) , Alioune Wade (bass guitar) , El Hadji Faye (percussion) , Figaro Diagne (marimba) , Abib Ndiaye (drums) , Thirifays Claude (saxophone) , Ramirez Jean Pierre (trumpet) , Welch Jean Marc (trombone) , Thione Ballago Seck (performer) , Amy Bambe (chorus) , Studio 2000 , Samassa Records
- Date: 1999
- Subjects: Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130137 , vital:36379 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC38-02
- Description: Mbalax sound is characherised by Senegalese nder lead drum, sabar rhythm drum and tama talking drum percussion and African and Arabic vocalistic styling in the Wolof language that accompanies Western keyboard and other electronic guitar and brass instruments
- Full Text: false
- Date Issued: 1999
Diongama
- Ismael Lo (author, composer, lead vocal, rhythm guitar, harmonica, chorus), EH. Malick Diouf (solo guitar, arrangments), Paul Thierry Oliveira (keyboard, arrangments), Alioune Wade (bass guitar), El Hadji Faye (percussion), Figaro Diagne (marimba), Abib Ndiaye (drums), Thirifays Claude (saxophone), Ramirez Jean Pierre (trumpet), Welch Jean Marc (trombone), Amy Bambe (chorus), Studio 2000, Samassa Records
- Authors: Ismael Lo (author, composer, lead vocal, rhythm guitar, harmonica, chorus) , EH. Malick Diouf (solo guitar, arrangments) , Paul Thierry Oliveira (keyboard, arrangments) , Alioune Wade (bass guitar) , El Hadji Faye (percussion) , Figaro Diagne (marimba) , Abib Ndiaye (drums) , Thirifays Claude (saxophone) , Ramirez Jean Pierre (trumpet) , Welch Jean Marc (trombone) , Amy Bambe (chorus) , Studio 2000 , Samassa Records
- Date: 1999
- Subjects: Popular music--Africa, West
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130142 , vital:36380
- Description: Mbalax sound is characherised by Senegalese nder lead drum, sabar rhythm drum and tama talking drum percussion and African and Arabic vocalistic styling in the Wolof language that accompanies Western keyboard and other electronic guitar and brass instruments
- Full Text: false
- Date Issued: 1999
- Authors: Ismael Lo (author, composer, lead vocal, rhythm guitar, harmonica, chorus) , EH. Malick Diouf (solo guitar, arrangments) , Paul Thierry Oliveira (keyboard, arrangments) , Alioune Wade (bass guitar) , El Hadji Faye (percussion) , Figaro Diagne (marimba) , Abib Ndiaye (drums) , Thirifays Claude (saxophone) , Ramirez Jean Pierre (trumpet) , Welch Jean Marc (trombone) , Amy Bambe (chorus) , Studio 2000 , Samassa Records
- Date: 1999
- Subjects: Popular music--Africa, West
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130142 , vital:36380
- Description: Mbalax sound is characherised by Senegalese nder lead drum, sabar rhythm drum and tama talking drum percussion and African and Arabic vocalistic styling in the Wolof language that accompanies Western keyboard and other electronic guitar and brass instruments
- Full Text: false
- Date Issued: 1999
Sing Hosanna (a medley of Praise)
- Peter Gabriels Muonagor (written, arranged, produced and composed by), Tosia Alesh (arranged and produced by), Studio 2000
- Authors: Peter Gabriels Muonagor (written, arranged, produced and composed by) , Tosia Alesh (arranged and produced by) , Studio 2000
- Date: 2000
- Subjects: Popular music , Music--Religious aspects--Chrisitianity , Africa Nigeria Lagos f-nr
- Language: English , Yoruba
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129531 , vital:36303 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC29-01
- Description: Solo and chorus singers singing Christian gospel songs accompanied by Nigerian band using traditional Nigerian rhythms and instruments
- Full Text: false
- Date Issued: 2000
- Authors: Peter Gabriels Muonagor (written, arranged, produced and composed by) , Tosia Alesh (arranged and produced by) , Studio 2000
- Date: 2000
- Subjects: Popular music , Music--Religious aspects--Chrisitianity , Africa Nigeria Lagos f-nr
- Language: English , Yoruba
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129531 , vital:36303 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC29-01
- Description: Solo and chorus singers singing Christian gospel songs accompanied by Nigerian band using traditional Nigerian rhythms and instruments
- Full Text: false
- Date Issued: 2000
Techniques of Xhosa music: a study based on the music of the Lumko district
- Authors: Dargie, David John
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Lumko district , Eastern Cape (South Africa) , Xhosa music , Musicology , AbaThembu , Ntsikana , Songs , Musical bows , Overtone singing
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2630 , http://hdl.handle.net/10962/d1001975
- Description: Part 1.Thesis: Chapter 1: The people of the Lumko district (the villages of Ngqoko and Sikhwankqeni) are AbaThembu, mostly of the Gcina clan cluster. Their history has caused them to be linked with (now vanished) San peoples in special ways, which have undoubtedly influenced their music. Chapter 2: The music of these people is centred around their religious and social life. This affects the way they classify their songs; and song classifications (and the way songs are used) affect their performance, in particular, the dance styles associated with the song classes. Chapter 3: A variety of musical instruments is used in the Lumko district, the most important being the musical bows. Once again, the use of these bows gives an insight into the musical influences that have affected the people historically. The ways the bows work are described, as well as ways to play them. Chapter 4: Overtone singing, not previously documented anywhere in traditional African music, is practised in certain ways by these AmaGcina. These, and other vocal techniques, are described. Chapter 5: From the terminology and the methods of conceptualisation about music in the Lumko district, it is possible to gain an insight into a truly Xhosa technical understanding of Xhosa music. Once again a historical insight is gained, because so many of the important terms are KhoiSan words. Chapter 6: A Western technological (i. e. musicological) understanding of the music is also necessary in a study of this nature. This chapter applies musicological concepts to an examination of the relationship between speech and song, of the usages in melody and scale, harmony theory, rhythm, polyphony, song form, instrumental roles and methods of performance. Chapter 7: This is the conclusion of the thesis. It sums up what has been studied: musical techniques, principles, the importance of Ntsikana 's song as a basis for musical comparisons, and the import of the historical aspects of the study - a possible glimpse of the music of the San. PART 2. MUSIC TRANSCRIPTIONS AND DESCRIPTIONS. The transcriptions of 62 songs provide the material for this study. The songs were chosen to represent all the major song classes used in the Lumko district, and to represent all the important music techniques as well. The songs are in fifteen categories. Each song is accompanied by its technical details, and sufficient commentary to make the song transcription intelligible and meaningful. Certain key songs are chosen as type-songs or other special examples, and are used as the bases for discussion on song style characteristics, principles of performance, bow adaptation, and so on. A general Introduction to Part 2 describes and accounts for the method of transcription, and also attempts to make it possible for the score reader not only to analyse, but also to perform the songs. In a further attempt to bring the transcriptions to life, a video recording of certain key songs and techniques, and audio tapes with examples taken from all the songs, accompany this study
- Full Text:
- Date Issued: 1987
- Authors: Dargie, David John
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Lumko district , Eastern Cape (South Africa) , Xhosa music , Musicology , AbaThembu , Ntsikana , Songs , Musical bows , Overtone singing
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2630 , http://hdl.handle.net/10962/d1001975
- Description: Part 1.Thesis: Chapter 1: The people of the Lumko district (the villages of Ngqoko and Sikhwankqeni) are AbaThembu, mostly of the Gcina clan cluster. Their history has caused them to be linked with (now vanished) San peoples in special ways, which have undoubtedly influenced their music. Chapter 2: The music of these people is centred around their religious and social life. This affects the way they classify their songs; and song classifications (and the way songs are used) affect their performance, in particular, the dance styles associated with the song classes. Chapter 3: A variety of musical instruments is used in the Lumko district, the most important being the musical bows. Once again, the use of these bows gives an insight into the musical influences that have affected the people historically. The ways the bows work are described, as well as ways to play them. Chapter 4: Overtone singing, not previously documented anywhere in traditional African music, is practised in certain ways by these AmaGcina. These, and other vocal techniques, are described. Chapter 5: From the terminology and the methods of conceptualisation about music in the Lumko district, it is possible to gain an insight into a truly Xhosa technical understanding of Xhosa music. Once again a historical insight is gained, because so many of the important terms are KhoiSan words. Chapter 6: A Western technological (i. e. musicological) understanding of the music is also necessary in a study of this nature. This chapter applies musicological concepts to an examination of the relationship between speech and song, of the usages in melody and scale, harmony theory, rhythm, polyphony, song form, instrumental roles and methods of performance. Chapter 7: This is the conclusion of the thesis. It sums up what has been studied: musical techniques, principles, the importance of Ntsikana 's song as a basis for musical comparisons, and the import of the historical aspects of the study - a possible glimpse of the music of the San. PART 2. MUSIC TRANSCRIPTIONS AND DESCRIPTIONS. The transcriptions of 62 songs provide the material for this study. The songs were chosen to represent all the major song classes used in the Lumko district, and to represent all the important music techniques as well. The songs are in fifteen categories. Each song is accompanied by its technical details, and sufficient commentary to make the song transcription intelligible and meaningful. Certain key songs are chosen as type-songs or other special examples, and are used as the bases for discussion on song style characteristics, principles of performance, bow adaptation, and so on. A general Introduction to Part 2 describes and accounts for the method of transcription, and also attempts to make it possible for the score reader not only to analyse, but also to perform the songs. In a further attempt to bring the transcriptions to life, a video recording of certain key songs and techniques, and audio tapes with examples taken from all the songs, accompany this study
- Full Text:
- Date Issued: 1987
Sarcasm, conflict and style in Mtywaku's plays
- Authors: Bokwe, Goliath Dumezweni
- Date: 1993
- Subjects: Xhosa drama -- History and criticism , Xhosa language -- Terms and phrases , Drama -- Black authors -- History and criticism , Playwriting
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:3594 , http://hdl.handle.net/10962/d1002169 , Xhosa drama -- History and criticism , Xhosa language -- Terms and phrases , Drama -- Black authors -- History and criticism , Playwriting
- Description: The following main aspects of Mtywaku's plays have been dealt with in the dissertation: (i) Sarcasm (ii) Conflict (iii) Style.
- Full Text:
- Date Issued: 1993
- Authors: Bokwe, Goliath Dumezweni
- Date: 1993
- Subjects: Xhosa drama -- History and criticism , Xhosa language -- Terms and phrases , Drama -- Black authors -- History and criticism , Playwriting
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:3594 , http://hdl.handle.net/10962/d1002169 , Xhosa drama -- History and criticism , Xhosa language -- Terms and phrases , Drama -- Black authors -- History and criticism , Playwriting
- Description: The following main aspects of Mtywaku's plays have been dealt with in the dissertation: (i) Sarcasm (ii) Conflict (iii) Style.
- Full Text:
- Date Issued: 1993
Elle est occupee (remix maquis)
- Brighess (author, composer, lead singer, chorus, percussions), Turbo (chorus), Le Ziboua Stars (band), Cisky de Panza (chorus, guitar, arranger), Ras live I
- Authors: Brighess (author, composer, lead singer, chorus, percussions) , Turbo (chorus) , Le Ziboua Stars (band) , Cisky de Panza (chorus, guitar, arranger) , Ras live I
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Guinea Conakry f-gv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129305 , vital:36259 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC20-07
- Description: Male vocal group sing in traditional Guinean harmonies and sounds, accompanied by percussion, keyboard, bass and striking bell, overlaid with modern afrobeat rhythm
- Full Text: false
- Date Issued: 2000
- Authors: Brighess (author, composer, lead singer, chorus, percussions) , Turbo (chorus) , Le Ziboua Stars (band) , Cisky de Panza (chorus, guitar, arranger) , Ras live I
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Guinea Conakry f-gv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129305 , vital:36259 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC20-07
- Description: Male vocal group sing in traditional Guinean harmonies and sounds, accompanied by percussion, keyboard, bass and striking bell, overlaid with modern afrobeat rhythm
- Full Text: false
- Date Issued: 2000
Analysis of selected choral works by John Tavener with particular reference to the post-1977 works
- Authors: Imrie, Sally
- Date: 1998
- Subjects: Tavener, John Choral music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2642 , http://hdl.handle.net/10962/d1002307
- Description: This thesis deals with sacred choral music written by John Tavener, a British composer born in 1944. It touches briefly on the background of Tavener and his early works (i.e. from about 1960-1976) - two works from that period have been selected for analysis, Celtic Requiem and Nomine Jesu. The main body of the thesis is concerned with those works composed,.after 1977, which show the influence of the Orthodox Church and Byzantine hymnography on Tavener's stylistic development. The selected works from this period to be analysed are: Ode of St Andrew of Crete, Two Hymns to the Mother of God, Magnificat, Nunc Dimittis, The Uncreated Eros, Eonia and We Shall See Him As Heis.
- Full Text:
- Date Issued: 1998
- Authors: Imrie, Sally
- Date: 1998
- Subjects: Tavener, John Choral music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2642 , http://hdl.handle.net/10962/d1002307
- Description: This thesis deals with sacred choral music written by John Tavener, a British composer born in 1944. It touches briefly on the background of Tavener and his early works (i.e. from about 1960-1976) - two works from that period have been selected for analysis, Celtic Requiem and Nomine Jesu. The main body of the thesis is concerned with those works composed,.after 1977, which show the influence of the Orthodox Church and Byzantine hymnography on Tavener's stylistic development. The selected works from this period to be analysed are: Ode of St Andrew of Crete, Two Hymns to the Mother of God, Magnificat, Nunc Dimittis, The Uncreated Eros, Eonia and We Shall See Him As Heis.
- Full Text:
- Date Issued: 1998
Transcendence in Patrick White: the imagery of the Tree of Man and Voss
- Authors: Van Niekerk, Timothy
- Date: 2003
- Subjects: White, Patrick, 1912-1990. Tree of man , White, Patrick, 1912-1990. Voss
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2254 , http://hdl.handle.net/10962/d1004269 , White, Patrick, 1912-1990. Tree of man , White, Patrick, 1912-1990. Voss
- Description: This study represents an exploration of White's concept of transcendence in The Tree of Man and Voss by means of a detailed account of some of the key patterns of imagery deployed in these novels. White's imagery is a key mode of expression in his work, not simply manifesting in overarching religious symbols and framing structures but figuring in constantly modulated tropes continuous with the narrative, as well as in minor, but no less significant images occasionally susceptible to etymological or onomastic reading. While no attempt is made to provide an exhaustive exploration of the tropes at work in these novels, a sufficient range of material is covered, and its metaphoric density adequately penetrated, to highlight and explore a fundamental concern in White's work with a paradoxical unity underlying the dualities inherent in temporal existence. A useful way of approaching his fiction is to view the perpetual modulations of his imagery as the dramatisation of an enantiodromia or play of opposites, in which the conflicts of duality are elaborated and paradoxically - though typically only momentarily - resolved. This resolution or coincidence of opposites is a significant feature of his notion of transcendence as well as his depictions of illuminatory experience, and in this respect White's metaphysics share an essential characteristic, not only of Christianity, but a range of religious and mythological systems concerned with expressing a transcendent reality. Despite these analogies, however, the novels at hand are not so tightly bound to Christian, or any other, meaning-making systems so as to constitute sustained allegories, and hence this study does not aim to chart a series of correspondences between White's images and biblical or mythological symbols. Indeed, a criticism often levelled at White - with The Tree of Man and Voss typically figuring in support of this claim - is that he too rigidly imposes religious frameworks on his work. An extension of this view is formulated in the Jungian critique of White's corpus offered by David Tacey, who argues that White's conception of transcendence is consistently challenged by the archetypal significance of the images he employs, which point to a contrary process of psycho-spiritual regression in his protagonists. In a fundamentally text-based approach, this study explores White's use of imagery while taking biblical resonances and archetypal interpretations into account, and suggests that, though White's images are highly allusive, they are not merely agents of imported Christian, or other traditional symbolic values. Nor do they undermine the authenticity of his depiction of the spirituality of his protagonists, or obtrude on the fabric of the narrative. Instead, the range of his images are - though often ambivalent - integral to a network of mercurial tropes which articulate and constantly evaluate a notion of transcendence through inflections and oscillations rather than equations of meaning.
- Full Text:
- Date Issued: 2003
- Authors: Van Niekerk, Timothy
- Date: 2003
- Subjects: White, Patrick, 1912-1990. Tree of man , White, Patrick, 1912-1990. Voss
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2254 , http://hdl.handle.net/10962/d1004269 , White, Patrick, 1912-1990. Tree of man , White, Patrick, 1912-1990. Voss
- Description: This study represents an exploration of White's concept of transcendence in The Tree of Man and Voss by means of a detailed account of some of the key patterns of imagery deployed in these novels. White's imagery is a key mode of expression in his work, not simply manifesting in overarching religious symbols and framing structures but figuring in constantly modulated tropes continuous with the narrative, as well as in minor, but no less significant images occasionally susceptible to etymological or onomastic reading. While no attempt is made to provide an exhaustive exploration of the tropes at work in these novels, a sufficient range of material is covered, and its metaphoric density adequately penetrated, to highlight and explore a fundamental concern in White's work with a paradoxical unity underlying the dualities inherent in temporal existence. A useful way of approaching his fiction is to view the perpetual modulations of his imagery as the dramatisation of an enantiodromia or play of opposites, in which the conflicts of duality are elaborated and paradoxically - though typically only momentarily - resolved. This resolution or coincidence of opposites is a significant feature of his notion of transcendence as well as his depictions of illuminatory experience, and in this respect White's metaphysics share an essential characteristic, not only of Christianity, but a range of religious and mythological systems concerned with expressing a transcendent reality. Despite these analogies, however, the novels at hand are not so tightly bound to Christian, or any other, meaning-making systems so as to constitute sustained allegories, and hence this study does not aim to chart a series of correspondences between White's images and biblical or mythological symbols. Indeed, a criticism often levelled at White - with The Tree of Man and Voss typically figuring in support of this claim - is that he too rigidly imposes religious frameworks on his work. An extension of this view is formulated in the Jungian critique of White's corpus offered by David Tacey, who argues that White's conception of transcendence is consistently challenged by the archetypal significance of the images he employs, which point to a contrary process of psycho-spiritual regression in his protagonists. In a fundamentally text-based approach, this study explores White's use of imagery while taking biblical resonances and archetypal interpretations into account, and suggests that, though White's images are highly allusive, they are not merely agents of imported Christian, or other traditional symbolic values. Nor do they undermine the authenticity of his depiction of the spirituality of his protagonists, or obtrude on the fabric of the narrative. Instead, the range of his images are - though often ambivalent - integral to a network of mercurial tropes which articulate and constantly evaluate a notion of transcendence through inflections and oscillations rather than equations of meaning.
- Full Text:
- Date Issued: 2003
Endothermy and chorusing behaviour in the African platypleurine cicada Pycna semiclara (Germar, 1834) (Hemiptera: Cicadidae)
- Villet, Martin H, Sanborn, Allen F, Phillips, P K
- Authors: Villet, Martin H , Sanborn, Allen F , Phillips, P K
- Date: 2003
- Language: English
- Type: text , Article
- Identifier: vital:6892 , http://hdl.handle.net/10962/d1011652 , http://dx.doi.org/10.1139/z03-119
- Description: Cicadas use acoustic signals to find mates and therefore offer a phylogenetically independent opportunity to test the generality of ideas about acoustic communication that were developed from studies of other animals. Pycna semiclara (Germar, 1834) (Hemiptera: Cicadidae) is a forest-dwelling platypleurine cicada that uses its calling song to form choruses and attract mates. Additionally, P. semiclara produces an encounter call that is involved in courtship and also in spacing males within choruses. Males generally call from exposed trunks and branches within the understory but clear of the undergrowth and fight with other males that call within about 50 cm of them. Choruses sing sporadically throughout the day but focus most of their calling activity into half-hour bouts at dawn and dusk. Body size and ambient temperature had no significant effect on spectral or temporal characteristics of the calling song. Body temperature measurements indicate that P. semiclara thermoregulates endothermically, with a body temperature of more than 22 °C above ambient temperature being measured during calling activity at dusk. Such endothermy provides an advantage to the cicadas by allowing them to call during crepuscular hours when atmospheric conditions are most optimal for acoustic communication and predation risks are minimal. Coincidentally, endogenously regulating body temperature allows the temporal characteristics of the call to be unaffected by ambient temperature changes.
- Full Text:
- Date Issued: 2003
- Authors: Villet, Martin H , Sanborn, Allen F , Phillips, P K
- Date: 2003
- Language: English
- Type: text , Article
- Identifier: vital:6892 , http://hdl.handle.net/10962/d1011652 , http://dx.doi.org/10.1139/z03-119
- Description: Cicadas use acoustic signals to find mates and therefore offer a phylogenetically independent opportunity to test the generality of ideas about acoustic communication that were developed from studies of other animals. Pycna semiclara (Germar, 1834) (Hemiptera: Cicadidae) is a forest-dwelling platypleurine cicada that uses its calling song to form choruses and attract mates. Additionally, P. semiclara produces an encounter call that is involved in courtship and also in spacing males within choruses. Males generally call from exposed trunks and branches within the understory but clear of the undergrowth and fight with other males that call within about 50 cm of them. Choruses sing sporadically throughout the day but focus most of their calling activity into half-hour bouts at dawn and dusk. Body size and ambient temperature had no significant effect on spectral or temporal characteristics of the calling song. Body temperature measurements indicate that P. semiclara thermoregulates endothermically, with a body temperature of more than 22 °C above ambient temperature being measured during calling activity at dusk. Such endothermy provides an advantage to the cicadas by allowing them to call during crepuscular hours when atmospheric conditions are most optimal for acoustic communication and predation risks are minimal. Coincidentally, endogenously regulating body temperature allows the temporal characteristics of the call to be unaffected by ambient temperature changes.
- Full Text:
- Date Issued: 2003
An analysis of pacing and sequencing of reading instruction in three grade 1 classrooms where isiXhosa is the language of learning and teaching
- Authors: Masola, Athambile
- Date: 2012
- Subjects: Reading (Elementary) -- Study and teaching -- Foreign speakers -- Research -- South Africa Literacy -- Education (Primary) -- Research -- South Africa English language -- Study and teaching -- South Africa -- Foreign speakers
- Language: English
- Type: Thesis , Masters , MEd
- Identifier: vital:1420 , http://hdl.handle.net/10962/d1003301
- Description: Reading development in the Foundation Phase (FP) is central to children’s success as they progress through school. However, evaluations in South Africa such as the Annual National Assessments (ANAs) and the Progress in International Reading Literacy Study (PIRLS) (2006) show that reading achievement in the Foundation Phase is low, especially for children learning with African languages as their home language. This thesis examines pacing and sequencing in three Grade 1 literacy classes where isiXhosa is the language of learning and teaching (LOLT). The research took the form of a case study, focusing on the teachers’ classroom practice and how they understand their practice. Documents related to reading development in the Foundation Phase are analysed with regard to pacing and sequencing, examining how the curriculum frames literacy for teachers in the Foundation Phase. The teachers’ understanding in relation to their social context is also an important part of this research. In the thesis the way in which the teachers sequence and pace learning is analysed, drawing on Bernstein’s notions of internal and external framing, and Bourdieu’s notion of the habitus. The intended curriculum and the implemented curriculum are then compared. The results confirm that in low socio‐economic status (SES) schools, the level of poverty has an impact on teaching practice. The results also show that pacing and sequencing are reliant on the degree of planning amongst teachers. The level of development amongst learners also plays a role in how teachers organise their practice in order to differentiate the teaching of reading for all learners. The understanding that teachers have about their teaching practice are layered and influenced by their experiences, history and memories as teachers. The thesis concludes that there is a need to develop teachers’ understanding of planning and organising the teaching of reading, especially when the learners are from poor communities and do not get support in the home. In order for teachers to improve their practice, it is important for them to have the opportunity to reflect on and understand their practice.
- Full Text:
- Date Issued: 2012
- Authors: Masola, Athambile
- Date: 2012
- Subjects: Reading (Elementary) -- Study and teaching -- Foreign speakers -- Research -- South Africa Literacy -- Education (Primary) -- Research -- South Africa English language -- Study and teaching -- South Africa -- Foreign speakers
- Language: English
- Type: Thesis , Masters , MEd
- Identifier: vital:1420 , http://hdl.handle.net/10962/d1003301
- Description: Reading development in the Foundation Phase (FP) is central to children’s success as they progress through school. However, evaluations in South Africa such as the Annual National Assessments (ANAs) and the Progress in International Reading Literacy Study (PIRLS) (2006) show that reading achievement in the Foundation Phase is low, especially for children learning with African languages as their home language. This thesis examines pacing and sequencing in three Grade 1 literacy classes where isiXhosa is the language of learning and teaching (LOLT). The research took the form of a case study, focusing on the teachers’ classroom practice and how they understand their practice. Documents related to reading development in the Foundation Phase are analysed with regard to pacing and sequencing, examining how the curriculum frames literacy for teachers in the Foundation Phase. The teachers’ understanding in relation to their social context is also an important part of this research. In the thesis the way in which the teachers sequence and pace learning is analysed, drawing on Bernstein’s notions of internal and external framing, and Bourdieu’s notion of the habitus. The intended curriculum and the implemented curriculum are then compared. The results confirm that in low socio‐economic status (SES) schools, the level of poverty has an impact on teaching practice. The results also show that pacing and sequencing are reliant on the degree of planning amongst teachers. The level of development amongst learners also plays a role in how teachers organise their practice in order to differentiate the teaching of reading for all learners. The understanding that teachers have about their teaching practice are layered and influenced by their experiences, history and memories as teachers. The thesis concludes that there is a need to develop teachers’ understanding of planning and organising the teaching of reading, especially when the learners are from poor communities and do not get support in the home. In order for teachers to improve their practice, it is important for them to have the opportunity to reflect on and understand their practice.
- Full Text:
- Date Issued: 2012
Cognitive behavioural treatment of chronic fatigue syndrome: an in-depth case study
- Authors: Rusch, Mary L
- Date: 2001
- Subjects: Chronic fatigue syndrome , Chronic fatigue syndrome -- Psychological aspects , Chronic fatigue syndrome -- Exercise therapy , Chronic fatigue syndrome -- Treatment
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:3046 , http://hdl.handle.net/10962/d1002555
- Description: Chronic Fatigue Syndrome (CFS) is a chronic disabling condition characterised by persistent physical and mental fatigue, and a variety of somatic, psychological and neurological symptoms. The aetiology of CFS is unknown and the cause of the illness remains controversial. Cognitive-behavioural therapy (CBT) is a non-pharmacological treatment approach that has been shown to be effective in treating patients with CFS. It is based on a model that hypothesises that certain maladaptive thoughts and dysfunctional beliefs may contribute to self-defeating behaviour that perpetuates symptoms and disability, and thereby impedes recovery. The main aim of this study was to critically examine the cognitive-behavioural approach of CFS outlined by Sharpe, Chalder, Palmer & Wessely (1997) by conducting three in-depth case studies. An additional aim was to present a full cognitive developmental case conceptualisation of CFS based on the theories of Leahy (1996) and Young (1994). This case study evaluated the effectiveness of a CBT treatment programme in a 48-year-old Caucasian woman diagnosed with CFS for three years. The treatment consisted of sixteen sessions of CBT and was evaluated both quantitatively and qualitatively. On the basis of this study, a set of core maladaptive schema in the area of disconnection and rejection was identified. In addition, it was found that specific compensatory schemas had developed to offset the core maladaptive schemas and that this compensatory strategy played an important role in maintaining the condition. The results also showed a significant decline in fatigue coupled with a moderate decline in functional disability and depression. A one-month follow-up interview revealed evidence of a substantial consolidation of therapeutic gains in that the improvements observed at the end of the treatment were sustained. Finally, the feasibility of incorporating a cognitive-developmental and/or schema-focused model into the standard CBT treatment model is discussed and the case study method as a research toll is evaluated in light of the findings.
- Full Text:
- Date Issued: 2001
- Authors: Rusch, Mary L
- Date: 2001
- Subjects: Chronic fatigue syndrome , Chronic fatigue syndrome -- Psychological aspects , Chronic fatigue syndrome -- Exercise therapy , Chronic fatigue syndrome -- Treatment
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:3046 , http://hdl.handle.net/10962/d1002555
- Description: Chronic Fatigue Syndrome (CFS) is a chronic disabling condition characterised by persistent physical and mental fatigue, and a variety of somatic, psychological and neurological symptoms. The aetiology of CFS is unknown and the cause of the illness remains controversial. Cognitive-behavioural therapy (CBT) is a non-pharmacological treatment approach that has been shown to be effective in treating patients with CFS. It is based on a model that hypothesises that certain maladaptive thoughts and dysfunctional beliefs may contribute to self-defeating behaviour that perpetuates symptoms and disability, and thereby impedes recovery. The main aim of this study was to critically examine the cognitive-behavioural approach of CFS outlined by Sharpe, Chalder, Palmer & Wessely (1997) by conducting three in-depth case studies. An additional aim was to present a full cognitive developmental case conceptualisation of CFS based on the theories of Leahy (1996) and Young (1994). This case study evaluated the effectiveness of a CBT treatment programme in a 48-year-old Caucasian woman diagnosed with CFS for three years. The treatment consisted of sixteen sessions of CBT and was evaluated both quantitatively and qualitatively. On the basis of this study, a set of core maladaptive schema in the area of disconnection and rejection was identified. In addition, it was found that specific compensatory schemas had developed to offset the core maladaptive schemas and that this compensatory strategy played an important role in maintaining the condition. The results also showed a significant decline in fatigue coupled with a moderate decline in functional disability and depression. A one-month follow-up interview revealed evidence of a substantial consolidation of therapeutic gains in that the improvements observed at the end of the treatment were sustained. Finally, the feasibility of incorporating a cognitive-developmental and/or schema-focused model into the standard CBT treatment model is discussed and the case study method as a research toll is evaluated in light of the findings.
- Full Text:
- Date Issued: 2001
Agreement and coordination in XiTsonga, SeSotho and IsiXhosa: an optimality theoretic perspective
- Authors: Mitchley, Hazel
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/3423 , vital:20491
- Description: This thesis provides a unified Optimality Theoretic analysis of subject-verb agreement with coordinated preverbal subjects in three Southern Bantu languages: Xitsonga (S53), Sesotho (S33), and isiXhosa (S41). This analysis is then used to formulate a typology of agreement resolution strategies and the contexts which trigger them. Although some accounts in the Bantu literature suggest that agreement with coordinate structures is avoided by speakers (e.g. Schadeberg 1992, Voeltz 1971) especially when conjuncts are from different noun classes, I show that there is ample evidence to the contrary, and that the subject marker used is dependent on several factors, including (i) the [-HUMAN] specification on the conjuncts, (ii) whether the conjuncts are singular or plural, (iii) whether or not the conjuncts both carry the same noun class feature, and (iv) the order of the conjuncts. This thesis shows that there are various agreement resolution strategies which can beused: 1) agreement with the [+HUMAN] feature on the conjuncts, 2) agreement with the[-HUMAN] feature on the conjuncts, 3) agreement with the noun class feature on both conjuncts, 4) agreement with the noun class feature on the conjunct closest to the verb, and 5) agreement with the noun class feature on the conjunct furthest from the verb. Not all of these strategies are used by all languages, nor are these strategies interchangeable in the languages which do use them – instead, multiple factors conspire to trigger the use of a specific agreement strategy within a specific agreement featural context. I show that these effects can be captured using Optimality Theory (Prince and Smolensky 2004). The analysis makes use of seven constraints: RES#, MAX[+H], MAX[-H], DEP[-H], MAXNC, DEPNC, and AGREECLOSEST. The hierarchical ranking of these constraints not only accounts for the confinement of particular strategies to specific agreement featural contexts within a language, but also accounts for the cross-linguistic differences in the use of these strategies. I end off by examining the typological implications which follow from the OT analysis provided in this thesis.
- Full Text:
- Date Issued: 2016
- Authors: Mitchley, Hazel
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/3423 , vital:20491
- Description: This thesis provides a unified Optimality Theoretic analysis of subject-verb agreement with coordinated preverbal subjects in three Southern Bantu languages: Xitsonga (S53), Sesotho (S33), and isiXhosa (S41). This analysis is then used to formulate a typology of agreement resolution strategies and the contexts which trigger them. Although some accounts in the Bantu literature suggest that agreement with coordinate structures is avoided by speakers (e.g. Schadeberg 1992, Voeltz 1971) especially when conjuncts are from different noun classes, I show that there is ample evidence to the contrary, and that the subject marker used is dependent on several factors, including (i) the [-HUMAN] specification on the conjuncts, (ii) whether the conjuncts are singular or plural, (iii) whether or not the conjuncts both carry the same noun class feature, and (iv) the order of the conjuncts. This thesis shows that there are various agreement resolution strategies which can beused: 1) agreement with the [+HUMAN] feature on the conjuncts, 2) agreement with the[-HUMAN] feature on the conjuncts, 3) agreement with the noun class feature on both conjuncts, 4) agreement with the noun class feature on the conjunct closest to the verb, and 5) agreement with the noun class feature on the conjunct furthest from the verb. Not all of these strategies are used by all languages, nor are these strategies interchangeable in the languages which do use them – instead, multiple factors conspire to trigger the use of a specific agreement strategy within a specific agreement featural context. I show that these effects can be captured using Optimality Theory (Prince and Smolensky 2004). The analysis makes use of seven constraints: RES#, MAX[+H], MAX[-H], DEP[-H], MAXNC, DEPNC, and AGREECLOSEST. The hierarchical ranking of these constraints not only accounts for the confinement of particular strategies to specific agreement featural contexts within a language, but also accounts for the cross-linguistic differences in the use of these strategies. I end off by examining the typological implications which follow from the OT analysis provided in this thesis.
- Full Text:
- Date Issued: 2016
Music in Grahamstown, 1880-1900
- Authors: Sparrow, Marion Janet
- Date: 1978
- Subjects: Music -- South Africa -- Grahamstown -- History Music -- South Africa -- Eastern Cape -- History
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2674 , http://hdl.handle.net/10962/d1007402
- Description: From Introduction: The previous thesis on the study of music in Grahamstown took the development to the point in history which marked the end of the Kaffir Wars on the Eastern Frontier. From 1880 - 1900, the Military Tradition of Grahamstown remained a strong factor in the daily life of the growing community. During the first decade of this thesis, there were years of retrenching and depression and the rural community, who supported many of the musical concerts, were also hard hit by drought and rinderpest. These problems are noticeable during the course of many of the chapters. The difficulties were overcome. The community grew and new schools were established and the effects of the First City Volunteers being away on minor War efforts, followed by the commencement of the Anglo-Boer War, were only temporarily felt in the musical life of the City. There must be to some extent duplication of information already submitted in an earlier thesis on Church Music. Chapter II - on Music in the Churches - is indispensable, as it reveals much of the heart and soul of the community, and without it the overall picture of the development of music in all spheres, would lose its true balance. It has been impossible to trace all the composers represented on the programmes, particularly those of all the glees and popular songs of the day. In some cases possible composers may perhaps have been suggested. There are obvious misprints which have been hinted at in footnotes. The primary source of information for this thesis has been "The Journal". As virtually all the material has been taken from that source and almost every footnote would have read Ibid . .. , I have dispensed with the abbreviation and merely given the date. Where the source of information changed, this was indicated. Throughout I have adhered to the facts and my deductions and suppositions have been reduced to a minimum .
- Full Text:
- Date Issued: 1978
- Authors: Sparrow, Marion Janet
- Date: 1978
- Subjects: Music -- South Africa -- Grahamstown -- History Music -- South Africa -- Eastern Cape -- History
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2674 , http://hdl.handle.net/10962/d1007402
- Description: From Introduction: The previous thesis on the study of music in Grahamstown took the development to the point in history which marked the end of the Kaffir Wars on the Eastern Frontier. From 1880 - 1900, the Military Tradition of Grahamstown remained a strong factor in the daily life of the growing community. During the first decade of this thesis, there were years of retrenching and depression and the rural community, who supported many of the musical concerts, were also hard hit by drought and rinderpest. These problems are noticeable during the course of many of the chapters. The difficulties were overcome. The community grew and new schools were established and the effects of the First City Volunteers being away on minor War efforts, followed by the commencement of the Anglo-Boer War, were only temporarily felt in the musical life of the City. There must be to some extent duplication of information already submitted in an earlier thesis on Church Music. Chapter II - on Music in the Churches - is indispensable, as it reveals much of the heart and soul of the community, and without it the overall picture of the development of music in all spheres, would lose its true balance. It has been impossible to trace all the composers represented on the programmes, particularly those of all the glees and popular songs of the day. In some cases possible composers may perhaps have been suggested. There are obvious misprints which have been hinted at in footnotes. The primary source of information for this thesis has been "The Journal". As virtually all the material has been taken from that source and almost every footnote would have read Ibid . .. , I have dispensed with the abbreviation and merely given the date. Where the source of information changed, this was indicated. Throughout I have adhered to the facts and my deductions and suppositions have been reduced to a minimum .
- Full Text:
- Date Issued: 1978
The musical life of Henry Hare Dugmore, 1820 settler
- Authors: Henderson, Jenifer M
- Date: 1974
- Subjects: Dugmore, H H (Henry H), 1810-1897
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2682 , http://hdl.handle.net/10962/d1012262
- Description: Henry Hare Dugmore, the eldest son of Isaac and Maria, was destined to play his part in the dramatic future of his adopted country; not only to help as an artisan and a farmer, but to build in the spiritual field as an influential missionary and in the academic field as a most capable lecturer; most important of all, in the Artistic field as a Poet and a Musician.
- Full Text:
- Date Issued: 1974
- Authors: Henderson, Jenifer M
- Date: 1974
- Subjects: Dugmore, H H (Henry H), 1810-1897
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2682 , http://hdl.handle.net/10962/d1012262
- Description: Henry Hare Dugmore, the eldest son of Isaac and Maria, was destined to play his part in the dramatic future of his adopted country; not only to help as an artisan and a farmer, but to build in the spiritual field as an influential missionary and in the academic field as a most capable lecturer; most important of all, in the Artistic field as a Poet and a Musician.
- Full Text:
- Date Issued: 1974
Petrographic and geochemical characterisation of the hangingwall and the footwall rocks (the Dipeta and R.A.T. stratigraphic units) to the Kinsevere and Nambulwa copper ore deposits of the Lufilian Arc, southern Democratic Republic of Congo
- Authors: Nkulu, Robert Kankomba
- Date: 2020
- Subjects: Petrogenesis -- Congo (Democratic Republic) , Analytical geochemistry -- Congo (Democratic Republic) , Copper ores -- Congo (Democratic Republic) , Ore deposits -- Congo (Democratic Republic) , Katangan Sequence , Geological mapping -- Congo (Democratic Republic) , Central African Copperbelt (Congo and Zambia) , Lufilian Arc , Neoproterozoic Katangan R.A.T. (Roches Argilo Talqueuse) Subgroup , Dipeta Subgroup
- Language: English
- Type: Thesis , Masters , MSc
- Identifier: http://hdl.handle.net/10962/142772 , vital:38115
- Description: The Kinsevere and Nambulwa copper deposits in the Democratic Republic of Congo (D.R.C.) are set in the eastern side of the Neoproterozoic Katanga Supergroup, forming the Lufilian Arc, resulting from a cratonic collision between the Congo and the Kalahari Cratons (ca.620-570_Ma). The Katanga Supergroup was deposited in an extensional rift setting with a sedimentary thickness succession ranging between 7 to 10 km, sub-divided into: − the Roan, the Nguba and the Kundelungu Groups. The stratigraphic column of the Roan Group consists of the R.A.T. (Roche Argilo Talqueuse), the Mines, the Dipeta and the Mwashya Subgroups. Three major deformation phases have been described characterised by complex multiphase tectonics related to a curved superposition of folded, thrust and sheared blocks. The rocks of the R.A.T., Mines and Dipeta Subgroups are recognised as blocks that occur within a stratiform to discordant and diapiritic megabreccia. The blocks were rafted upward with salt tectonics, resulting in the juxtaposition with the hangingwall and the footwall terranes. Therefore, in that context it has been found that the Dipeta may appear overlying the R.A.T. Subgroup through the unconformity decollement surface of heterogeneous breccia. The petrographic observations made of the R.A.T. and Dipeta samples indicates in both units the presence of detrital quartz and feldspar that have been altered and replaced by sericite and muscovite minerals. Gypsum is intimately associated with magnesite, showing an evaporitic environment domain, while magnesite is common as alteration phase both in the R.A.T. and Dipeta Subgroups. Pyrophyllite has been observed in the Dipeta, resulting from reaction of silica with the Kaolinite at low temperature. Accessory detrital minerals include zircon, as well as xenotime intergrown with altered Fe-Ti-oxide hematite, forming complex textures with disseminated Ti-oxides both in R.A.T. and Dipeta units. Major and trace element geochemistry indicates that the Dipeta is more dolomitic and magnesite while the R.A.T. is clay-rich. The Ti2O value of Dipeta and R.A.T samples is relatively low, ranging between 0.36 and 0.69 wt.% respectively, which suggest highly evolved felsic material in the protolith. This is consistent with interpretation based on the Al2O3/TiO2 ratio, which ranges between 18 and 23 for the R.A.T. and Dipeta respectively, indicating an intermediate to felsic granitoids as the protolith of R.A.T. and Dipeta siltstones. The Ti/Zr ratio of R.A.T. and Dipeta samples of less than 10, while, the higher La/Sc ratio of between 2.6 and 5.5 (for the R.A.T. and Dipeta respectively) indicate that both the R.A.T. and Dipeta are active continental and passive margin tectonic setting. Based on the geochemical variation with depth across the R.A.T. and Dipeta and their contact zone, a geochemical fingerprinting suggests that the ratio TiO2/Al2O3 appears to be useful and could be considered as a stratigraphic geochemical maker able to discriminate the R.A.T. and the Dipeta Subgroups during the geological mapping.
- Full Text:
- Date Issued: 2020
- Authors: Nkulu, Robert Kankomba
- Date: 2020
- Subjects: Petrogenesis -- Congo (Democratic Republic) , Analytical geochemistry -- Congo (Democratic Republic) , Copper ores -- Congo (Democratic Republic) , Ore deposits -- Congo (Democratic Republic) , Katangan Sequence , Geological mapping -- Congo (Democratic Republic) , Central African Copperbelt (Congo and Zambia) , Lufilian Arc , Neoproterozoic Katangan R.A.T. (Roches Argilo Talqueuse) Subgroup , Dipeta Subgroup
- Language: English
- Type: Thesis , Masters , MSc
- Identifier: http://hdl.handle.net/10962/142772 , vital:38115
- Description: The Kinsevere and Nambulwa copper deposits in the Democratic Republic of Congo (D.R.C.) are set in the eastern side of the Neoproterozoic Katanga Supergroup, forming the Lufilian Arc, resulting from a cratonic collision between the Congo and the Kalahari Cratons (ca.620-570_Ma). The Katanga Supergroup was deposited in an extensional rift setting with a sedimentary thickness succession ranging between 7 to 10 km, sub-divided into: − the Roan, the Nguba and the Kundelungu Groups. The stratigraphic column of the Roan Group consists of the R.A.T. (Roche Argilo Talqueuse), the Mines, the Dipeta and the Mwashya Subgroups. Three major deformation phases have been described characterised by complex multiphase tectonics related to a curved superposition of folded, thrust and sheared blocks. The rocks of the R.A.T., Mines and Dipeta Subgroups are recognised as blocks that occur within a stratiform to discordant and diapiritic megabreccia. The blocks were rafted upward with salt tectonics, resulting in the juxtaposition with the hangingwall and the footwall terranes. Therefore, in that context it has been found that the Dipeta may appear overlying the R.A.T. Subgroup through the unconformity decollement surface of heterogeneous breccia. The petrographic observations made of the R.A.T. and Dipeta samples indicates in both units the presence of detrital quartz and feldspar that have been altered and replaced by sericite and muscovite minerals. Gypsum is intimately associated with magnesite, showing an evaporitic environment domain, while magnesite is common as alteration phase both in the R.A.T. and Dipeta Subgroups. Pyrophyllite has been observed in the Dipeta, resulting from reaction of silica with the Kaolinite at low temperature. Accessory detrital minerals include zircon, as well as xenotime intergrown with altered Fe-Ti-oxide hematite, forming complex textures with disseminated Ti-oxides both in R.A.T. and Dipeta units. Major and trace element geochemistry indicates that the Dipeta is more dolomitic and magnesite while the R.A.T. is clay-rich. The Ti2O value of Dipeta and R.A.T samples is relatively low, ranging between 0.36 and 0.69 wt.% respectively, which suggest highly evolved felsic material in the protolith. This is consistent with interpretation based on the Al2O3/TiO2 ratio, which ranges between 18 and 23 for the R.A.T. and Dipeta respectively, indicating an intermediate to felsic granitoids as the protolith of R.A.T. and Dipeta siltstones. The Ti/Zr ratio of R.A.T. and Dipeta samples of less than 10, while, the higher La/Sc ratio of between 2.6 and 5.5 (for the R.A.T. and Dipeta respectively) indicate that both the R.A.T. and Dipeta are active continental and passive margin tectonic setting. Based on the geochemical variation with depth across the R.A.T. and Dipeta and their contact zone, a geochemical fingerprinting suggests that the ratio TiO2/Al2O3 appears to be useful and could be considered as a stratigraphic geochemical maker able to discriminate the R.A.T. and the Dipeta Subgroups during the geological mapping.
- Full Text:
- Date Issued: 2020
An assessment of the performance appraisal system utilised for junior and middle level management within the South African National Defence Force
- Authors: Terblanche, Graham Martin
- Date: 2004
- Subjects: Middle managers -- Rating of -- South Africa , South Africa. National Defence Force Officials and employees Rating of
- Language: English
- Type: Thesis , Masters , MBA
- Identifier: vital:10884 , http://hdl.handle.net/10948/148 , Middle managers -- Rating of -- South Africa , South Africa. National Defence Force Officials and employees Rating of
- Description: The research problem of this study was to assess the extent to which the appraisal system for junior and middle level managers in the South African National Defence Force (SANDF) met the requirements and guidelines for performance appraisal as stipulated in the literature. To achieve this objective, the following procedure was followed: · A survey of existing literature, related to performance appraisal, was conducted. The literature study focused on the requirements for an effective performance appraisal system, appraisal methods and appraisal errors. Attention was also focused on who should take responsibility for performance appraisal and the importance of regularly evaluating the performance appraisal system to meet the demands of a changing environment. The second part of the literature study dealt with the guidelines for establishing an effective appraisal system as well as performance management processes and cycles that are critical for the effectiveness of an appraisal system. The theoretical study formed the basis for the development of a survey questionnaire to establish the extent to which junior and middle level managers in the SANDF agreed with the theoretical guidelines. The survey was administered to a randomly selected group of junior and middle level managers who were representative of the South African Army, Airforce and Medical Services. The empirical results indicated that there was concurrence with many of the guidelines in the literature, but that there were areas that could be improved. It became evident that many respondents felt that the current system was not entirely fair and was not adapted to meet the needs of the integrated SANDF. Specifically, results indicated that the system should be re-evaluated to eliminate bias and to enhance the development of clear standards, both on a quantitative and qualitative level. It became clear that training and communication were important to the successful development and utilisation of a performance appraisal system. An effective performance appraisal system that is integrated with the overall performance management system of an organisation will enhance productivity, satisfaction and the attainment of goals.
- Full Text:
- Date Issued: 2004
- Authors: Terblanche, Graham Martin
- Date: 2004
- Subjects: Middle managers -- Rating of -- South Africa , South Africa. National Defence Force Officials and employees Rating of
- Language: English
- Type: Thesis , Masters , MBA
- Identifier: vital:10884 , http://hdl.handle.net/10948/148 , Middle managers -- Rating of -- South Africa , South Africa. National Defence Force Officials and employees Rating of
- Description: The research problem of this study was to assess the extent to which the appraisal system for junior and middle level managers in the South African National Defence Force (SANDF) met the requirements and guidelines for performance appraisal as stipulated in the literature. To achieve this objective, the following procedure was followed: · A survey of existing literature, related to performance appraisal, was conducted. The literature study focused on the requirements for an effective performance appraisal system, appraisal methods and appraisal errors. Attention was also focused on who should take responsibility for performance appraisal and the importance of regularly evaluating the performance appraisal system to meet the demands of a changing environment. The second part of the literature study dealt with the guidelines for establishing an effective appraisal system as well as performance management processes and cycles that are critical for the effectiveness of an appraisal system. The theoretical study formed the basis for the development of a survey questionnaire to establish the extent to which junior and middle level managers in the SANDF agreed with the theoretical guidelines. The survey was administered to a randomly selected group of junior and middle level managers who were representative of the South African Army, Airforce and Medical Services. The empirical results indicated that there was concurrence with many of the guidelines in the literature, but that there were areas that could be improved. It became evident that many respondents felt that the current system was not entirely fair and was not adapted to meet the needs of the integrated SANDF. Specifically, results indicated that the system should be re-evaluated to eliminate bias and to enhance the development of clear standards, both on a quantitative and qualitative level. It became clear that training and communication were important to the successful development and utilisation of a performance appraisal system. An effective performance appraisal system that is integrated with the overall performance management system of an organisation will enhance productivity, satisfaction and the attainment of goals.
- Full Text:
- Date Issued: 2004
A case study of feedback strategies in The Open Learning Systems Trust (OLSET) Radio Learning Programmes
- Authors: Kenyon, Jennifer Berry
- Date: 1999
- Subjects: English language -- Study and teaching -- Foreign speakers , Educational broadcasting , Radio in education -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2352 , http://hdl.handle.net/10962/d1002634 , English language -- Study and teaching -- Foreign speakers , Educational broadcasting , Radio in education -- South Africa
- Description: The following is a case study of three Foundation Phase teachers' classroom practice while using the Open Learning Systems Education Trust (OLSET) Radio Learning Programmes, "English In Action" Level Two materials with their Grade Two learners. This case study describes and analyses the feedback strategies of the three teachers. The radio learning programmes have been developed to provide teachers with an effective interactive set of materials to assist their learners in the acquisition of English. These audio materials also provide teachers with opportunities to be creative and responsive to their learners' specific needs. The feedback strategies described in this study are the teachers' use of their learners' mother tongue, correction oflearner error, and use of praise and encouragement during the three Teacher-Led Activity (TLA) segments of the radio programmes. These TLAs give teachers approximately 12 minutes per lesson during which they are called on to manage the materials according to their learners' specific needs. The TLAs are specifically designed to give learners the opportunity to use and respond to English in particular contexts. This study examines three teachers' feedback to their learners in order to find out what kind of feedback has been made. An attempt has also been made to analyse the nature of the feedback. It was found, from the description and analysis of the teachers' feedback, that when teachers used their learners' mother tongue this was more often used to translate words or phrases which were part of the radio narrator's instructions to the learners and these translations were then repeated in English. Teachers corrected very few learner errors. The most common form of correction was to model the correct form and have the learners repeat this. In spite of claiming that correction of errors was important and all three teachers said they did correct their learners' errors, there was very little evidence of this practice in the sample described in this study. The use of praise and encouragement was a strategy that all three teachers claimed they practised but almost no instances of the use of praise were described. The three teachers used only the word "good" to praise any of their learners' efforts and, in fact, all three used this only twice in each of the three lessons described in this study. In terms of language learning a number of factors have been compared. Some of these include teachers' repetition oflearners' answers and their correction oflearner responses by modelling. They were also observed allowing a variety of learner response as well as ensuring a number of individual learners were able to respond. These factors appear to have enhanced the language learning in the classrooms. However, it was also observed that the teachers needed more support in order to develop more explicit strategies to use their learners' mother tongue, to praise learners and to correct learner error purposefully in their classroom practice. There is a need for guidance to be given teachers in the development and use of open-ended questions and strategies which could encourage the development of higher order language skills in their learners. These findings will influence OLSET's teacher development curriculum. It is envisaged that strategies and activities designed to provide teachers with opportunities to reflect on their own practice with regard to the feedback they provide will be incorporated into the workshops and teacher support systems provided by OLSET's teacher development team.
- Full Text:
- Date Issued: 1999
- Authors: Kenyon, Jennifer Berry
- Date: 1999
- Subjects: English language -- Study and teaching -- Foreign speakers , Educational broadcasting , Radio in education -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2352 , http://hdl.handle.net/10962/d1002634 , English language -- Study and teaching -- Foreign speakers , Educational broadcasting , Radio in education -- South Africa
- Description: The following is a case study of three Foundation Phase teachers' classroom practice while using the Open Learning Systems Education Trust (OLSET) Radio Learning Programmes, "English In Action" Level Two materials with their Grade Two learners. This case study describes and analyses the feedback strategies of the three teachers. The radio learning programmes have been developed to provide teachers with an effective interactive set of materials to assist their learners in the acquisition of English. These audio materials also provide teachers with opportunities to be creative and responsive to their learners' specific needs. The feedback strategies described in this study are the teachers' use of their learners' mother tongue, correction oflearner error, and use of praise and encouragement during the three Teacher-Led Activity (TLA) segments of the radio programmes. These TLAs give teachers approximately 12 minutes per lesson during which they are called on to manage the materials according to their learners' specific needs. The TLAs are specifically designed to give learners the opportunity to use and respond to English in particular contexts. This study examines three teachers' feedback to their learners in order to find out what kind of feedback has been made. An attempt has also been made to analyse the nature of the feedback. It was found, from the description and analysis of the teachers' feedback, that when teachers used their learners' mother tongue this was more often used to translate words or phrases which were part of the radio narrator's instructions to the learners and these translations were then repeated in English. Teachers corrected very few learner errors. The most common form of correction was to model the correct form and have the learners repeat this. In spite of claiming that correction of errors was important and all three teachers said they did correct their learners' errors, there was very little evidence of this practice in the sample described in this study. The use of praise and encouragement was a strategy that all three teachers claimed they practised but almost no instances of the use of praise were described. The three teachers used only the word "good" to praise any of their learners' efforts and, in fact, all three used this only twice in each of the three lessons described in this study. In terms of language learning a number of factors have been compared. Some of these include teachers' repetition oflearners' answers and their correction oflearner responses by modelling. They were also observed allowing a variety of learner response as well as ensuring a number of individual learners were able to respond. These factors appear to have enhanced the language learning in the classrooms. However, it was also observed that the teachers needed more support in order to develop more explicit strategies to use their learners' mother tongue, to praise learners and to correct learner error purposefully in their classroom practice. There is a need for guidance to be given teachers in the development and use of open-ended questions and strategies which could encourage the development of higher order language skills in their learners. These findings will influence OLSET's teacher development curriculum. It is envisaged that strategies and activities designed to provide teachers with opportunities to reflect on their own practice with regard to the feedback they provide will be incorporated into the workshops and teacher support systems provided by OLSET's teacher development team.
- Full Text:
- Date Issued: 1999
Perspectives on isolation: the relation of narrative technique to theme in selected works by Joseph Conrad
- Authors: Gaylard, Robin Peter
- Date: 2013-02-13
- Subjects: Conrad, Joseph, 1857-1924
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2182 , http://hdl.handle.net/10962/d1001833 , Conrad, Joseph, 1857-1924
- Description: " ... the central concern of this thesis, which is to investigate the ways in which Conrad uses a particular technique (that of the first-person narrator ) to focus our attention, to secure our involvement, and to direct our sympathies. At the same time I wish to examine the extent to which the central themes or concerns of each work derive from the interaction between the narrator and the man whose experience he confronts, from "the challenging interplay of two frames of reference, two schemes of values, two sets of attitudes" that the use of a dramatized narrator makes possible." (Introd., p. 5) , Adobe Acrobat 9.53 Paper Capture Plug-in
- Full Text:
- Authors: Gaylard, Robin Peter
- Date: 2013-02-13
- Subjects: Conrad, Joseph, 1857-1924
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2182 , http://hdl.handle.net/10962/d1001833 , Conrad, Joseph, 1857-1924
- Description: " ... the central concern of this thesis, which is to investigate the ways in which Conrad uses a particular technique (that of the first-person narrator ) to focus our attention, to secure our involvement, and to direct our sympathies. At the same time I wish to examine the extent to which the central themes or concerns of each work derive from the interaction between the narrator and the man whose experience he confronts, from "the challenging interplay of two frames of reference, two schemes of values, two sets of attitudes" that the use of a dramatized narrator makes possible." (Introd., p. 5) , Adobe Acrobat 9.53 Paper Capture Plug-in
- Full Text:
Nani Bwabongo
- Priscilia Ngando (lead vocal), Mevio-Mayo, Dany Mouanga, Mouasso (rhythm guitars), Aubin Sandjo, Scorpionkabambay, Mouche Bass (bass guitar), Dany Mouanga, Eric Sefu (solo guitar), Aubin Sandjo, Paul Balong (keyboard), Abel Massock, Fabo Claude, Nono (chorus), Cyrille Baudoin Koudh (composer), Aubin Sandjo (drum, percussion, keyboard), Alhadji Mallam Issa (talking drum), Moussa Haissam
- Authors: Priscilia Ngando (lead vocal) , Mevio-Mayo, Dany Mouanga, Mouasso (rhythm guitars) , Aubin Sandjo, Scorpionkabambay, Mouche Bass (bass guitar) , Dany Mouanga, Eric Sefu (solo guitar) , Aubin Sandjo, Paul Balong (keyboard) , Abel Massock, Fabo Claude, Nono (chorus) , Cyrille Baudoin Koudh (composer) , Aubin Sandjo (drum, percussion, keyboard) , Alhadji Mallam Issa (talking drum) , Moussa Haissam
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cameroon Yaounde f-cm
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130792 , vital:36479 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC47-02
- Description: Popular songs from Cameroon, featuring female vocal accompanied by keyboard, chorus, guitar, percussion and talking drum, playing West and Central African rhythms
- Full Text: false
- Date Issued: 2000
- Authors: Priscilia Ngando (lead vocal) , Mevio-Mayo, Dany Mouanga, Mouasso (rhythm guitars) , Aubin Sandjo, Scorpionkabambay, Mouche Bass (bass guitar) , Dany Mouanga, Eric Sefu (solo guitar) , Aubin Sandjo, Paul Balong (keyboard) , Abel Massock, Fabo Claude, Nono (chorus) , Cyrille Baudoin Koudh (composer) , Aubin Sandjo (drum, percussion, keyboard) , Alhadji Mallam Issa (talking drum) , Moussa Haissam
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cameroon Yaounde f-cm
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130792 , vital:36479 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC47-02
- Description: Popular songs from Cameroon, featuring female vocal accompanied by keyboard, chorus, guitar, percussion and talking drum, playing West and Central African rhythms
- Full Text: false
- Date Issued: 2000
Dikalo
- Priscilia Ngando (lead vocal), Mevio-Mayo, Dany Mouanga, Mouasso (rhythm guitars), Aubin Sandjo, Scorpionkabambay, Mouche Bass (bass guitar), Dany Mouanga, Eric Sefu (solo guitar), Aubin Sandjo, Paul Balong (keyboard), Abel Massock, Fabo Claude, Nono (chorus), Priscilia Ngando (composer), Aubin Sandjo (drum, percussion, keyboard), Alhadji Mallam Issa (talking drum), Moussa Haissam
- Authors: Priscilia Ngando (lead vocal) , Mevio-Mayo, Dany Mouanga, Mouasso (rhythm guitars) , Aubin Sandjo, Scorpionkabambay, Mouche Bass (bass guitar) , Dany Mouanga, Eric Sefu (solo guitar) , Aubin Sandjo, Paul Balong (keyboard) , Abel Massock, Fabo Claude, Nono (chorus) , Priscilia Ngando (composer) , Aubin Sandjo (drum, percussion, keyboard) , Alhadji Mallam Issa (talking drum) , Moussa Haissam
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cameroon Yaounde f-cm
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130836 , vital:36486 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC47-03
- Description: Popular songs from Cameroon, featuring female vocal accompanied by keyboard, chorus, guitar, percussion and talking drum, playing West and Central African rhythms
- Full Text: false
- Date Issued: 2000
- Authors: Priscilia Ngando (lead vocal) , Mevio-Mayo, Dany Mouanga, Mouasso (rhythm guitars) , Aubin Sandjo, Scorpionkabambay, Mouche Bass (bass guitar) , Dany Mouanga, Eric Sefu (solo guitar) , Aubin Sandjo, Paul Balong (keyboard) , Abel Massock, Fabo Claude, Nono (chorus) , Priscilia Ngando (composer) , Aubin Sandjo (drum, percussion, keyboard) , Alhadji Mallam Issa (talking drum) , Moussa Haissam
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cameroon Yaounde f-cm
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130836 , vital:36486 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC47-03
- Description: Popular songs from Cameroon, featuring female vocal accompanied by keyboard, chorus, guitar, percussion and talking drum, playing West and Central African rhythms
- Full Text: false
- Date Issued: 2000