Domba
- Phineas Nemavhulani, Tracey, Andrew T N
- Authors: Phineas Nemavhulani , Tracey, Andrew T N
- Date: 1987
- Subjects: Venda (African people) -- South Africa , Folk music--Africa , Mbila , Sub-Saharan African music , Africa South Africa Venda f-sa
- Language: Venda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/93207 , vital:30852 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC021a-08
- Description: Traditional song accompanied by mbila dzamadeza and chitiringo flute.
- Full Text: false
- Date Issued: 1987
- Authors: Phineas Nemavhulani , Tracey, Andrew T N
- Date: 1987
- Subjects: Venda (African people) -- South Africa , Folk music--Africa , Mbila , Sub-Saharan African music , Africa South Africa Venda f-sa
- Language: Venda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/93207 , vital:30852 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC021a-08
- Description: Traditional song accompanied by mbila dzamadeza and chitiringo flute.
- Full Text: false
- Date Issued: 1987
Domba
- Phineas Nemavhulani, Tracey, Andrew T N
- Authors: Phineas Nemavhulani , Tracey, Andrew T N
- Date: 1987
- Subjects: Venda (African people) -- South Africa , Folk music--Africa , Mbila , Sub-Saharan African music , Africa South Africa Venda f-sa
- Language: Venda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/93198 , vital:30851 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC021a-07
- Description: Traditional song accompanied by mbila dzamadeza and chitiringo flute.
- Full Text: false
- Date Issued: 1987
- Authors: Phineas Nemavhulani , Tracey, Andrew T N
- Date: 1987
- Subjects: Venda (African people) -- South Africa , Folk music--Africa , Mbila , Sub-Saharan African music , Africa South Africa Venda f-sa
- Language: Venda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/93198 , vital:30851 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC021a-07
- Description: Traditional song accompanied by mbila dzamadeza and chitiringo flute.
- Full Text: false
- Date Issued: 1987
Shango ndimatakadza
- Phineas Nemavhulani, Tracey, Andrew T N
- Authors: Phineas Nemavhulani , Tracey, Andrew T N
- Date: 1987
- Subjects: Venda (African people) -- South Africa , Folk music--Africa , Mbila , Sub-Saharan African music , Africa South Africa Venda f-sa
- Language: Venda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/93216 , vital:30853 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC021b-01
- Description: Traditional song accompanied by mbila dzamadeza and chitiringo flute.
- Full Text: false
- Date Issued: 1987
- Authors: Phineas Nemavhulani , Tracey, Andrew T N
- Date: 1987
- Subjects: Venda (African people) -- South Africa , Folk music--Africa , Mbila , Sub-Saharan African music , Africa South Africa Venda f-sa
- Language: Venda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/93216 , vital:30853 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC021b-01
- Description: Traditional song accompanied by mbila dzamadeza and chitiringo flute.
- Full Text: false
- Date Issued: 1987
Transcribing the Venda tshikona reedpipe dance
- Tracey, Andrew, Gumboreshumba, Laina
- Authors: Tracey, Andrew , Gumboreshumba, Laina
- Date: 2013
- Language: English
- Type: article , text
- Identifier: http://hdl.handle.net/10962/59744 , vital:27644 , http://dx.doi.org/10.21504/amj.v9i3.1909
- Description: Starting with the end result, the above transcription is the conclusion I came to after sitting with Laina Gumboreshumba for many hours, watching the videos she made during her recent doctoral research on the tshikona reedpipe dance of the Venda of Limpopo Province in the extreme north of South Africa. The transcription shown in Figure 2 is a skeleton version of the full pipe sound that contains all the information needed to grasp the structure of the sound and teach it or play it. There are always seven different pipes. A full tshikona group has far more than the seven pipes (nanga) shown, because all seven pipe numbers are doubled in every octave present in a group, so there may be up to four or more Pipe 1s, Pipe 2s, etc, of different sizes. All the Pipe 1s play the same pattern together, all the Pipe 2s etc. There are usually four octaves in all, with an incomplete octave of a few higher pitched pipes at the top (phalana). A popular size for a group according to group leaders (malogwane) is twenty eight pipes, which may include some pitch duplicates. A festive performance can number well over one hundred players. The music is heptatonic as you can see from the transcription, and hear for yourself from CD track 1 accompanying this issue of African Music. A chart showing the tuning is included as Figure 1 1 at the end of this article. This article does not address the pipe names; they are simply numbered Pipes 1 to 7, in the order of entry in Mr Netshivhale’s groups. The pipes are end-blown, closed tubes made of a special bamboo, or increasingly today of electrical or other tubing.
- Full Text:
- Date Issued: 2013
- Authors: Tracey, Andrew , Gumboreshumba, Laina
- Date: 2013
- Language: English
- Type: article , text
- Identifier: http://hdl.handle.net/10962/59744 , vital:27644 , http://dx.doi.org/10.21504/amj.v9i3.1909
- Description: Starting with the end result, the above transcription is the conclusion I came to after sitting with Laina Gumboreshumba for many hours, watching the videos she made during her recent doctoral research on the tshikona reedpipe dance of the Venda of Limpopo Province in the extreme north of South Africa. The transcription shown in Figure 2 is a skeleton version of the full pipe sound that contains all the information needed to grasp the structure of the sound and teach it or play it. There are always seven different pipes. A full tshikona group has far more than the seven pipes (nanga) shown, because all seven pipe numbers are doubled in every octave present in a group, so there may be up to four or more Pipe 1s, Pipe 2s, etc, of different sizes. All the Pipe 1s play the same pattern together, all the Pipe 2s etc. There are usually four octaves in all, with an incomplete octave of a few higher pitched pipes at the top (phalana). A popular size for a group according to group leaders (malogwane) is twenty eight pipes, which may include some pitch duplicates. A festive performance can number well over one hundred players. The music is heptatonic as you can see from the transcription, and hear for yourself from CD track 1 accompanying this issue of African Music. A chart showing the tuning is included as Figure 1 1 at the end of this article. This article does not address the pipe names; they are simply numbered Pipes 1 to 7, in the order of entry in Mr Netshivhale’s groups. The pipes are end-blown, closed tubes made of a special bamboo, or increasingly today of electrical or other tubing.
- Full Text:
- Date Issued: 2013
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
The Plastic University: Knowledge, Disciplines and Decolonial 'Circulations'
- Authors: Keet, Andre
- Subjects: Critical pedagogy , Transformative learning , f-sa
- Language: English
- Type: text , Lectures
- Identifier: http://hdl.handle.net/10948/21077 , vital:29436
- Description: The university is as plastic as the social figure of ‘Mandela’ after whom it is named. It is as plastic as the globe and its humanity in whose name it exists. And, it is as plastic as the human subject that is ‘perpetually called on to reconfigure itself in relation to the artefacts of the age’, as Mbembe2 argues in Critique of Black Reason. The very nature of addressing, of writing … of inaugurating … oneself, through an address is an act of reconfiguration, of responding to an artefact of the university and the professoriate. It is, when all is said and done, a performance, a performative act: declaring so and so a professor of this or that status, authorizing ‘it’ to utter something with some kind of formative force.
- Full Text:
- Authors: Keet, Andre
- Subjects: Critical pedagogy , Transformative learning , f-sa
- Language: English
- Type: text , Lectures
- Identifier: http://hdl.handle.net/10948/21077 , vital:29436
- Description: The university is as plastic as the social figure of ‘Mandela’ after whom it is named. It is as plastic as the globe and its humanity in whose name it exists. And, it is as plastic as the human subject that is ‘perpetually called on to reconfigure itself in relation to the artefacts of the age’, as Mbembe2 argues in Critique of Black Reason. The very nature of addressing, of writing … of inaugurating … oneself, through an address is an act of reconfiguration, of responding to an artefact of the university and the professoriate. It is, when all is said and done, a performance, a performative act: declaring so and so a professor of this or that status, authorizing ‘it’ to utter something with some kind of formative force.
- Full Text:
Pisalema amen haleluya
- Phineas Nemavulani, Tracey, Andrew T N
- Authors: Phineas Nemavulani , Tracey, Andrew T N
- Date: 1987
- Subjects: Venda (African people) -- South Africa , Folk music--Africa , Mbira , Sub-Saharan African music , Africa South Africa Venda f-sa
- Language: Venda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/92973 , vital:30818 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC020a-02
- Description: Religious song accompanied by the Venda mbila dzamadeza.
- Full Text: false
- Date Issued: 1987
- Authors: Phineas Nemavulani , Tracey, Andrew T N
- Date: 1987
- Subjects: Venda (African people) -- South Africa , Folk music--Africa , Mbira , Sub-Saharan African music , Africa South Africa Venda f-sa
- Language: Venda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/92973 , vital:30818 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC020a-02
- Description: Religious song accompanied by the Venda mbila dzamadeza.
- Full Text: false
- Date Issued: 1987
Tivhayi sali manyunyu charikonela
- Phineas Nemavulani, Tracey, Andrew T N
- Authors: Phineas Nemavulani , Tracey, Andrew T N
- Date: 1987
- Subjects: Venda (African people) -- South Africa , Folk music--Africa , Mbira , Sub-Saharan African music , Africa South Africa Venda f-sa
- Language: Venda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/92964 , vital:30816 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC020a-01
- Description: Traditional song accompanied by the Venda mbila dzamadeza.
- Full Text: false
- Date Issued: 1987
- Authors: Phineas Nemavulani , Tracey, Andrew T N
- Date: 1987
- Subjects: Venda (African people) -- South Africa , Folk music--Africa , Mbira , Sub-Saharan African music , Africa South Africa Venda f-sa
- Language: Venda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/92964 , vital:30816 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC020a-01
- Description: Traditional song accompanied by the Venda mbila dzamadeza.
- Full Text: false
- Date Issued: 1987
Una mukamango
- Kruger, Jaco (Recorded by), Nelamvi, Phineas (Performer), Composer unknown
- Authors: Kruger, Jaco (Recorded by) , Nelamvi, Phineas (Performer) , Composer unknown
- Subjects: Thohoyandou -- Transvaal (Limpopo) -- South Africa , Indigenous music , Traditional music , Xylophone , Instrumental , Solo
- Type: Music , Sound
- Identifier: vital:15998 , JKC11a-17 , http://hdl.handle.net/10962/d1009187 , Tape number: JKC11 , Original tape number: 11 , Track number: 17
- Description: Solo performance of traditional Venda tune with 14 key xylophone accompaniment , For further details refer to Jaco Kruger recording card: 122b
- Full Text: false
- Authors: Kruger, Jaco (Recorded by) , Nelamvi, Phineas (Performer) , Composer unknown
- Subjects: Thohoyandou -- Transvaal (Limpopo) -- South Africa , Indigenous music , Traditional music , Xylophone , Instrumental , Solo
- Type: Music , Sound
- Identifier: vital:15998 , JKC11a-17 , http://hdl.handle.net/10962/d1009187 , Tape number: JKC11 , Original tape number: 11 , Track number: 17
- Description: Solo performance of traditional Venda tune with 14 key xylophone accompaniment , For further details refer to Jaco Kruger recording card: 122b
- Full Text: false
Vha songo lila Nyamukamadi
- Kruger, Jaco (Recorded by), Nelamvi, Phineas (Performer), Composer unknown
- Authors: Kruger, Jaco (Recorded by) , Nelamvi, Phineas (Performer) , Composer unknown
- Subjects: Thohoyandou -- Transvaal (Limpopo) -- South Africa , Indigenous music , Traditional music , Xylophone , Instrumental , Solo
- Type: Music , Sound
- Identifier: vital:16005 , JKC11a-16 , http://hdl.handle.net/10962/d1009194 , Tape number: JKC11 , Original tape number: 11 , Track number: 16
- Description: English translation of title: 'Do not cry Nyamukamadi' , Solo performance of traditional Venda tune with 14 key xylophone accompaniment , For further details refer to Jaco Kruger recording card: 122b
- Full Text: false
- Authors: Kruger, Jaco (Recorded by) , Nelamvi, Phineas (Performer) , Composer unknown
- Subjects: Thohoyandou -- Transvaal (Limpopo) -- South Africa , Indigenous music , Traditional music , Xylophone , Instrumental , Solo
- Type: Music , Sound
- Identifier: vital:16005 , JKC11a-16 , http://hdl.handle.net/10962/d1009194 , Tape number: JKC11 , Original tape number: 11 , Track number: 16
- Description: English translation of title: 'Do not cry Nyamukamadi' , Solo performance of traditional Venda tune with 14 key xylophone accompaniment , For further details refer to Jaco Kruger recording card: 122b
- Full Text: false
Tshikona
- Kruger, Jaco (Recorded by), Nelamvi, Phineas (Performer), Composer unknown
- Authors: Kruger, Jaco (Recorded by) , Nelamvi, Phineas (Performer) , Composer unknown
- Subjects: Thohoyandou -- Transvaal (Limpopo) -- South Africa , Transvaal (Limpopo) , South Africa , Indigenous music , Traditional music , Xylophone , Instrumental , Solo
- Type: Music , Sound
- Identifier: vital:15908 , JKC11a-19 , http://hdl.handle.net/10962/d1009097 , Tape number: JKC11 , Original tape number: 11 , Track number: 19
- Description: Solo performance of traditional Venda tune with 14 key xylophone accompaniment , For further details refer to Jaco Kruger recording card: 122b
- Full Text: false
- Authors: Kruger, Jaco (Recorded by) , Nelamvi, Phineas (Performer) , Composer unknown
- Subjects: Thohoyandou -- Transvaal (Limpopo) -- South Africa , Transvaal (Limpopo) , South Africa , Indigenous music , Traditional music , Xylophone , Instrumental , Solo
- Type: Music , Sound
- Identifier: vital:15908 , JKC11a-19 , http://hdl.handle.net/10962/d1009097 , Tape number: JKC11 , Original tape number: 11 , Track number: 19
- Description: Solo performance of traditional Venda tune with 14 key xylophone accompaniment , For further details refer to Jaco Kruger recording card: 122b
- Full Text: false
Ku lila
- Kruger, Jaco (Recorded by), Nelamvi, Phineas (Performer), Composer unknown
- Authors: Kruger, Jaco (Recorded by) , Nelamvi, Phineas (Performer) , Composer unknown
- Subjects: Thohoyandou -- Transvaal (Limpopo) -- South Africa , Transvaal (Limpopo) , South Africa , Indigenous music , Traditional music , Xylophone , Instrumental , Solo
- Type: Music , Sound
- Identifier: vital:15527 , JKC11a-18 , http://hdl.handle.net/10962/d1008716 , Tape number: JKC11 , Original tape number: 11 , Track number: 18
- Description: English translation of title: 'The ground hornbills are crying' , Solo performance of traditional Venda tune with 14 key xylophone accompaniment , For further details refer to Jaco Kruger recording card: 122b
- Full Text: false
- Authors: Kruger, Jaco (Recorded by) , Nelamvi, Phineas (Performer) , Composer unknown
- Subjects: Thohoyandou -- Transvaal (Limpopo) -- South Africa , Transvaal (Limpopo) , South Africa , Indigenous music , Traditional music , Xylophone , Instrumental , Solo
- Type: Music , Sound
- Identifier: vital:15527 , JKC11a-18 , http://hdl.handle.net/10962/d1008716 , Tape number: JKC11 , Original tape number: 11 , Track number: 18
- Description: English translation of title: 'The ground hornbills are crying' , Solo performance of traditional Venda tune with 14 key xylophone accompaniment , For further details refer to Jaco Kruger recording card: 122b
- Full Text: false
Shopstewards summit - Notice and Agenda
- SACCAWU
- Authors: SACCAWU
- Date: Oct 2007
- Subjects: SACCAWU
- Language: English
- Type: text
- Identifier: http://hdl.handle.net/10962/137723 , vital:37553
- Description: Comrades National Office Bearers of SACCAWU, other leadership of the Union at various level, the Wits Regional leadership of SACCAWU, the Shoprite Checkers NSSC NOBs, Officials, esteemed guests and delegates to this Summit, a substructure to the NSSC, I bring you warm and revolutionary greetings on behalf of the Shoprite Checkers NOBs and the entire NSSC and the entire SACCAWU membership. We are indeed honoured that you have all, particularly the SACCAWU NOBs, Officials and Guests, went to great length and sacrifices to ensure that you form part of this historic Summit. It is historic in that it is the only meeting of national competence convened in the year the NSSC turns twenty. Lest we forget, the Shoprite Council was launched in 1987, and has over the years relaunched to match the developments that were taking place within the company as it was growing its brands. Without your presence, we have no doubt that our debates would be poorer, leading to decisions that might in the long run prove inappropriate. You are once more welcome and assured that you are free to participate in the deliberations over the next few days. The Council have seen various onslaughts through the years and survived the iron-fisted resolve of the brutal apartheid regime and the capitalist system in its changing forms. It is the experiences of the time that has moulded numerous Shopstewards to an extent of understanding the necessity of participating within the Union and Federation structures. It is no coincidence that today, this Council has many of its Shopstewards in the CEC of the Union. It is of course worthless to have numbers in such structures if we do not play a positive and constructive role in shaping the direction of the Union. We can only do so if we are really grounded on the traditions of the mass democratic movement and the national democratic revolution.
- Full Text:
- Date Issued: Oct 2007
- Authors: SACCAWU
- Date: Oct 2007
- Subjects: SACCAWU
- Language: English
- Type: text
- Identifier: http://hdl.handle.net/10962/137723 , vital:37553
- Description: Comrades National Office Bearers of SACCAWU, other leadership of the Union at various level, the Wits Regional leadership of SACCAWU, the Shoprite Checkers NSSC NOBs, Officials, esteemed guests and delegates to this Summit, a substructure to the NSSC, I bring you warm and revolutionary greetings on behalf of the Shoprite Checkers NOBs and the entire NSSC and the entire SACCAWU membership. We are indeed honoured that you have all, particularly the SACCAWU NOBs, Officials and Guests, went to great length and sacrifices to ensure that you form part of this historic Summit. It is historic in that it is the only meeting of national competence convened in the year the NSSC turns twenty. Lest we forget, the Shoprite Council was launched in 1987, and has over the years relaunched to match the developments that were taking place within the company as it was growing its brands. Without your presence, we have no doubt that our debates would be poorer, leading to decisions that might in the long run prove inappropriate. You are once more welcome and assured that you are free to participate in the deliberations over the next few days. The Council have seen various onslaughts through the years and survived the iron-fisted resolve of the brutal apartheid regime and the capitalist system in its changing forms. It is the experiences of the time that has moulded numerous Shopstewards to an extent of understanding the necessity of participating within the Union and Federation structures. It is no coincidence that today, this Council has many of its Shopstewards in the CEC of the Union. It is of course worthless to have numbers in such structures if we do not play a positive and constructive role in shaping the direction of the Union. We can only do so if we are really grounded on the traditions of the mass democratic movement and the national democratic revolution.
- Full Text:
- Date Issued: Oct 2007
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
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
Azigbo
- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128902 , vital:36189 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-03
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128902 , vital:36189 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-03
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
Bidi Djehoua
- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129014 , vital:36204 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-09
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129014 , vital:36204 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-09
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
A cultural analysis of Venda guitar songs
- Authors: Kruger, Jaco Hentie
- Date: 1994
- Subjects: Ethnomusicology Venda (African people) -- Music -- Social aspects Songs with guitar Music -- Social aspects Music -- Social aspects -- South Africa -- Venda Symbolism in music
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2644 , http://hdl.handle.net/10962/d1002309
- Description: This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.
- Full Text:
- Date Issued: 1994
- Authors: Kruger, Jaco Hentie
- Date: 1994
- Subjects: Ethnomusicology Venda (African people) -- Music -- Social aspects Songs with guitar Music -- Social aspects Music -- Social aspects -- South Africa -- Venda Symbolism in music
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2644 , http://hdl.handle.net/10962/d1002309
- Description: This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.
- Full Text:
- Date Issued: 1994
An investigation of parameter relationships in a high-speed digital multimedia environment
- Authors: Chigwamba, Nyasha
- Date: 2014
- Subjects: Multimedia communications , Digital communications , Local area networks (Computer networks) , Computer network architectures , Computer network protocols , Computer sound processing , Sound -- Recording and reproducing -- Digital techniques
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:4725 , http://hdl.handle.net/10962/d1021153
- Description: With the rapid adoption of multimedia network technologies, a number of companies and standards bodies are introducing technologies that enhance user experience in networked multimedia environments. These technologies focus on device discovery, connection management, control, and monitoring. This study focused on control and monitoring. Multimedia networks make it possible for devices that are part of the same network to reside in different physical locations. These devices contain parameters that are used to control particular features, such as speaker volume, bass, amplifier gain, and video resolution. It is often necessary for changes in one parameter to affect other parameters, such as a synchronised change between volume and bass parameters, or collective control of multiple parameters. Thus, relationships are required between the parameters. In addition, some devices contain parameters, such as voltage, temperature, and audio level, that require constant monitoring to enable corrective action when thresholds are exceeded. Therefore, a mechanism for monitoring networked devices is required. This thesis proposes relationships that are essential for the proper functioning of a multimedia network and that should, therefore, be incorporated in standard form into a protocol, such that all devices can depend on them. Implementation mechanisms for these relationships were created. Parameter grouping and monitoring capabilities within mixing console implementations and existing control protocols were reviewed. A number of requirements for parameter grouping and monitoring were derived from this review. These requirements include a formal classification of relationship types, the ability to create relationships between parameters with different underlying value units, the ability to create relationships between parameters residing on different devices on a network, and the use of an event-driven mechanism for parameter monitoring. These requirements were the criteria used to govern the implementation mechanisms that were created as part of this study. Parameter grouping and monitoring mechanisms were implemented for the XFN protocol. The mechanisms implemented fulfil the requirements derived from the review of capabilities of mixing consoles and existing control protocols. The formal classification of relationship types was implemented within XFN parameters using lists that keep track of the relationships between each XFN parameter and other XFN parameters that reside on the same device or on other devices on the network. A common value unit, known as the global unit, was defined for use as the value format within value update messages between XFN parameters that have relationships. Mapping tables were used to translate the global unit values to application-specific (universal) units, such as decibels (dB). A mechanism for bulk parameter retrieval within the XFN protocol was augmented to produce an event-driven mechanism for parameter monitoring. These implementation mechanisms were applied to an XFN-protocol-compliant graphical control application to demonstrate their usage within an end user context. At the time of this study, the XFN protocol was undergoing standardisation within the Audio Engineering Society. The AES-64 standard has now been approved. Most of the implementation mechanisms resulting from this study have been incorporated into this standard.
- Full Text:
- Date Issued: 2014
- Authors: Chigwamba, Nyasha
- Date: 2014
- Subjects: Multimedia communications , Digital communications , Local area networks (Computer networks) , Computer network architectures , Computer network protocols , Computer sound processing , Sound -- Recording and reproducing -- Digital techniques
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:4725 , http://hdl.handle.net/10962/d1021153
- Description: With the rapid adoption of multimedia network technologies, a number of companies and standards bodies are introducing technologies that enhance user experience in networked multimedia environments. These technologies focus on device discovery, connection management, control, and monitoring. This study focused on control and monitoring. Multimedia networks make it possible for devices that are part of the same network to reside in different physical locations. These devices contain parameters that are used to control particular features, such as speaker volume, bass, amplifier gain, and video resolution. It is often necessary for changes in one parameter to affect other parameters, such as a synchronised change between volume and bass parameters, or collective control of multiple parameters. Thus, relationships are required between the parameters. In addition, some devices contain parameters, such as voltage, temperature, and audio level, that require constant monitoring to enable corrective action when thresholds are exceeded. Therefore, a mechanism for monitoring networked devices is required. This thesis proposes relationships that are essential for the proper functioning of a multimedia network and that should, therefore, be incorporated in standard form into a protocol, such that all devices can depend on them. Implementation mechanisms for these relationships were created. Parameter grouping and monitoring capabilities within mixing console implementations and existing control protocols were reviewed. A number of requirements for parameter grouping and monitoring were derived from this review. These requirements include a formal classification of relationship types, the ability to create relationships between parameters with different underlying value units, the ability to create relationships between parameters residing on different devices on a network, and the use of an event-driven mechanism for parameter monitoring. These requirements were the criteria used to govern the implementation mechanisms that were created as part of this study. Parameter grouping and monitoring mechanisms were implemented for the XFN protocol. The mechanisms implemented fulfil the requirements derived from the review of capabilities of mixing consoles and existing control protocols. The formal classification of relationship types was implemented within XFN parameters using lists that keep track of the relationships between each XFN parameter and other XFN parameters that reside on the same device or on other devices on the network. A common value unit, known as the global unit, was defined for use as the value format within value update messages between XFN parameters that have relationships. Mapping tables were used to translate the global unit values to application-specific (universal) units, such as decibels (dB). A mechanism for bulk parameter retrieval within the XFN protocol was augmented to produce an event-driven mechanism for parameter monitoring. These implementation mechanisms were applied to an XFN-protocol-compliant graphical control application to demonstrate their usage within an end user context. At the time of this study, the XFN protocol was undergoing standardisation within the Audio Engineering Society. The AES-64 standard has now been approved. Most of the implementation mechanisms resulting from this study have been incorporated into this standard.
- Full Text:
- Date Issued: 2014
An investigation of a framework for the implementation of service management in the information and communication technology sector
- Authors: Benyon, Robert Victor
- Date: 2006
- Subjects: Support services (Management) , Service industries -- Management , Information technology -- Management , Management information systems , Communication in management
- Language: English
- Type: Thesis , Masters , MCom
- Identifier: vital:1137 , http://hdl.handle.net/10962/d1002766 , Support services (Management) , Service industries -- Management , Information technology -- Management , Management information systems , Communication in management
- Description: Service Management (SM) is an integrated, cyclical and collaborative approach to the management of service requirements and levels. It involves the definition of client expectations, the satisfying of those expectations and the perpetual refining of the business agreement (Sturm 2001). SM in the ICT sector is a comprehensive process that extends beyond the development of Service Agreements (SAs). A number of identifiable steps constitute the progressive implementation of a managed services environment, the key components of which are a readiness to provide services, the accurate elicitation, management and satisfying of client requirements and the continual improvements to the business relationship. Unfortunately, a number of SM initiatives fail. These failures can be attributed to a lack of SM understanding, the absence of a fully implemented SM strategy, poor communication and people issues. This research describes an investigation of SM implementation. A number of recognised frameworks are explored and critically analysed. The common strengths of these frameworks and the results of an exploratory pilot study are used to construct an SM implementation framework. This framework is then tested empirically by means of an online survey, and revised in the light of the results of this survey. The framework comprises two distinct phases, namely a Foundation phase and a Managed Services phase. The Foundation phase comprises 8 critical preparatory activities that take a service provider to state of readiness to provide and manage ICT services. The Managed Services phase comprises 5 key cyclical steps for the management of ICT services, including Planning, Analysis, Design, Implementation and Review.
- Full Text:
- Date Issued: 2006
- Authors: Benyon, Robert Victor
- Date: 2006
- Subjects: Support services (Management) , Service industries -- Management , Information technology -- Management , Management information systems , Communication in management
- Language: English
- Type: Thesis , Masters , MCom
- Identifier: vital:1137 , http://hdl.handle.net/10962/d1002766 , Support services (Management) , Service industries -- Management , Information technology -- Management , Management information systems , Communication in management
- Description: Service Management (SM) is an integrated, cyclical and collaborative approach to the management of service requirements and levels. It involves the definition of client expectations, the satisfying of those expectations and the perpetual refining of the business agreement (Sturm 2001). SM in the ICT sector is a comprehensive process that extends beyond the development of Service Agreements (SAs). A number of identifiable steps constitute the progressive implementation of a managed services environment, the key components of which are a readiness to provide services, the accurate elicitation, management and satisfying of client requirements and the continual improvements to the business relationship. Unfortunately, a number of SM initiatives fail. These failures can be attributed to a lack of SM understanding, the absence of a fully implemented SM strategy, poor communication and people issues. This research describes an investigation of SM implementation. A number of recognised frameworks are explored and critically analysed. The common strengths of these frameworks and the results of an exploratory pilot study are used to construct an SM implementation framework. This framework is then tested empirically by means of an online survey, and revised in the light of the results of this survey. The framework comprises two distinct phases, namely a Foundation phase and a Managed Services phase. The Foundation phase comprises 8 critical preparatory activities that take a service provider to state of readiness to provide and manage ICT services. The Managed Services phase comprises 5 key cyclical steps for the management of ICT services, including Planning, Analysis, Design, Implementation and Review.
- Full Text:
- Date Issued: 2006