A historic-hermeneutic critique of luthiery with specific reference to selected South African guiter builders
- Authors: Bower, Rudi
- Date: 2008
- Subjects: Guitar -- Construction , Guitar -- History
- Language: English
- Type: Thesis , Doctoral , DPhil
- Identifier: vital:8512 , http://hdl.handle.net/10948/779 , Guitar -- Construction , Guitar -- History
- Description: This study uses a general historical overview of luthiery that provides the reader with a basic understanding of construction techniques and terminology as a point of departure. From the outset the lack of consensus over an ideal or desired construction technique is highlighted. However, Torres is credited with the establishing of a perceived Spanish tradition of guitar construction and acknowledged as the “father” of the modern guitar. This will serve as a basic framework in which a discussion of six prominent past and present international luthiers can occur. These luthiers, namely Antonio de Torres, Hermann Hauser, Robert Bouchet, Daniel Friederich, Jose Romanillos and Greg Smallman are included in this study by virtue of their influence on the South African luthiers that are featured here. It is noted that these six luthiers, with the exception of Greg Smallman, all adhere to the “Spanish tradition” of guitar construction. Smallman can be considered a foremost proponent of a more recent “modern” school of guitar construction characterized by various innovative construction techniques. These are a result of new demands placed on the guitar as performance instrument because of larger concert venues and more collaboration with different instruments, resulting in a need for a stronger tone and more projection and penetration in sound. These two “poles” of luthiery are then manifested in the discussion on the seven featured South African luthiers. Alistair Thompson, Colin Cleveland, Mervyn Davis, Garth Pickard, Marc Maingard, Rodney Stedall and Hans van den Berg are discussed with special mention made of the features of their instruments, woods used and thoughts on luthiery, against the backdrop of their biographies. The four South African luthiers who build within the “Spanish tradition” (Pickard, Maingard, Stedall and Van den Berg) are distinguished from the three who build outside this so-called tradition (Thompson, Cleveland, Davis). South African luthiery is therefore shown to be an accurate microcosm of luthiery in global terms with styles of construction ranging from very “traditional” to very “modern”. The critical reflection on the information contained in this study appears in the form of a hermeneutic critique on luthiery that occurs within the parameters of the thought of two prominent hermeneutic thinkers, Martin Heidegger and his student, Hans-Georg Gadamer. It is shown that the collaboration that often occurs between guitar makers and performers can be related back to Gadamer and his analysis of Heidegger’s notion of the the hermeneutic circle. It is also argued that luthiery as practiced by the international and South African luthiers featured in this study can be seen both as art and technology in ancient Greek terms in that they are both a mode of revealing. Finally, it is shown how luthiery in its entirety can be viewed as a tradition and that different luthiers respond and add to this tradition in various ways.
- Full Text:
- Date Issued: 2008
- Authors: Bower, Rudi
- Date: 2008
- Subjects: Guitar -- Construction , Guitar -- History
- Language: English
- Type: Thesis , Doctoral , DPhil
- Identifier: vital:8512 , http://hdl.handle.net/10948/779 , Guitar -- Construction , Guitar -- History
- Description: This study uses a general historical overview of luthiery that provides the reader with a basic understanding of construction techniques and terminology as a point of departure. From the outset the lack of consensus over an ideal or desired construction technique is highlighted. However, Torres is credited with the establishing of a perceived Spanish tradition of guitar construction and acknowledged as the “father” of the modern guitar. This will serve as a basic framework in which a discussion of six prominent past and present international luthiers can occur. These luthiers, namely Antonio de Torres, Hermann Hauser, Robert Bouchet, Daniel Friederich, Jose Romanillos and Greg Smallman are included in this study by virtue of their influence on the South African luthiers that are featured here. It is noted that these six luthiers, with the exception of Greg Smallman, all adhere to the “Spanish tradition” of guitar construction. Smallman can be considered a foremost proponent of a more recent “modern” school of guitar construction characterized by various innovative construction techniques. These are a result of new demands placed on the guitar as performance instrument because of larger concert venues and more collaboration with different instruments, resulting in a need for a stronger tone and more projection and penetration in sound. These two “poles” of luthiery are then manifested in the discussion on the seven featured South African luthiers. Alistair Thompson, Colin Cleveland, Mervyn Davis, Garth Pickard, Marc Maingard, Rodney Stedall and Hans van den Berg are discussed with special mention made of the features of their instruments, woods used and thoughts on luthiery, against the backdrop of their biographies. The four South African luthiers who build within the “Spanish tradition” (Pickard, Maingard, Stedall and Van den Berg) are distinguished from the three who build outside this so-called tradition (Thompson, Cleveland, Davis). South African luthiery is therefore shown to be an accurate microcosm of luthiery in global terms with styles of construction ranging from very “traditional” to very “modern”. The critical reflection on the information contained in this study appears in the form of a hermeneutic critique on luthiery that occurs within the parameters of the thought of two prominent hermeneutic thinkers, Martin Heidegger and his student, Hans-Georg Gadamer. It is shown that the collaboration that often occurs between guitar makers and performers can be related back to Gadamer and his analysis of Heidegger’s notion of the the hermeneutic circle. It is also argued that luthiery as practiced by the international and South African luthiers featured in this study can be seen both as art and technology in ancient Greek terms in that they are both a mode of revealing. Finally, it is shown how luthiery in its entirety can be viewed as a tradition and that different luthiers respond and add to this tradition in various ways.
- Full Text:
- Date Issued: 2008
The classical guitar : a study in structural, technical and musical evolution
- Authors: Nock, Howard James
- Date: 1974
- Subjects: Guitar , Guitar -- Construction
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2687 , http://hdl.handle.net/10962/d1012966
- Description: Although complete works have been written dealing with the structural development of the guitar, to the best of my knowledge no attempt has yet been made to incorporate in one work an account in which structure, playing technique and musical style are correlated. Therefore the aim of this work has been to provide a compendium on these three main aspects of the historical development of the guitar ... The object of Part I is to try and establish the mainstream of the development of the guitar from the earliest beginnings of string instruments to the present day. Since little information and evidence of early instruments (i.e. before 1500 A.D.) is available, it has been necessary to formulate theories on how these developments may have taken place. Intro., p. 1.
- Full Text:
- Date Issued: 1974
- Authors: Nock, Howard James
- Date: 1974
- Subjects: Guitar , Guitar -- Construction
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2687 , http://hdl.handle.net/10962/d1012966
- Description: Although complete works have been written dealing with the structural development of the guitar, to the best of my knowledge no attempt has yet been made to incorporate in one work an account in which structure, playing technique and musical style are correlated. Therefore the aim of this work has been to provide a compendium on these three main aspects of the historical development of the guitar ... The object of Part I is to try and establish the mainstream of the development of the guitar from the earliest beginnings of string instruments to the present day. Since little information and evidence of early instruments (i.e. before 1500 A.D.) is available, it has been necessary to formulate theories on how these developments may have taken place. Intro., p. 1.
- Full Text:
- Date Issued: 1974
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
Don't give up
- Ma Sane, Do Sagna, Yade (vocals), Toto (guitar), Race, Magx Thiam (keyboards), Galass, Mbaye Joola (percussion), Beuz (drums), Studio 2000
- Authors: Ma Sane, Do Sagna, Yade (vocals) , Toto (guitar) , Race, Magx Thiam (keyboards) , Galass, Mbaye Joola (percussion) , Beuz (drums) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Thies f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128135 , vital:36079 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC10-04
- Description: Senegalese band featuring singing accompanied by keyboard, guitar and percussion
- Full Text: false
- Date Issued: 2000
- Authors: Ma Sane, Do Sagna, Yade (vocals) , Toto (guitar) , Race, Magx Thiam (keyboards) , Galass, Mbaye Joola (percussion) , Beuz (drums) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Thies f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128135 , vital:36079 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC10-04
- Description: Senegalese band featuring singing accompanied by keyboard, guitar and percussion
- Full Text: false
- Date Issued: 2000
Sumbera
- Ma Sane, Do Sagna, Yade (vocals), Toto (guitar), Race, Magx Thiam (keyboards), Galass, Mbaye Joola (percussion), Beuz (drums), Studio 2000
- Authors: Ma Sane, Do Sagna, Yade (vocals) , Toto (guitar) , Race, Magx Thiam (keyboards) , Galass, Mbaye Joola (percussion) , Beuz (drums) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Thies f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128108 , vital:36076 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC10-01
- Description: Senegalese band featuring singing accompanied by keyboard, guitar and percussion
- Full Text: false
- Date Issued: 2000
- Authors: Ma Sane, Do Sagna, Yade (vocals) , Toto (guitar) , Race, Magx Thiam (keyboards) , Galass, Mbaye Joola (percussion) , Beuz (drums) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Thies f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128108 , vital:36076 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC10-01
- Description: Senegalese band featuring singing accompanied by keyboard, guitar and percussion
- Full Text: false
- Date Issued: 2000
Incident
- Ma Sane, Do Sagna, Yade (vocals), Toto (guitar), Race, Magx Thiam (keyboards), Galass, Mbaye Joola (percussion), Beuz (drums), Studio 2000
- Authors: Ma Sane, Do Sagna, Yade (vocals) , Toto (guitar) , Race, Magx Thiam (keyboards) , Galass, Mbaye Joola (percussion) , Beuz (drums) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Thies f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128118 , vital:36078 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC10-03
- Description: Senegalese band featuring singing accompanied by keyboard, guitar and percussion
- Full Text: false
- Date Issued: 2000
- Authors: Ma Sane, Do Sagna, Yade (vocals) , Toto (guitar) , Race, Magx Thiam (keyboards) , Galass, Mbaye Joola (percussion) , Beuz (drums) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Thies f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128118 , vital:36078 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC10-03
- Description: Senegalese band featuring singing accompanied by keyboard, guitar and percussion
- Full Text: false
- Date Issued: 2000
Prosper
- Ma Sane, Do Sagna, Yade (vocals), Toto (guitar), Race, Magx Thiam (keyboards), Galass, Mbaye Joola (percussion), Beuz (drums), Studio 2000
- Authors: Ma Sane, Do Sagna, Yade (vocals) , Toto (guitar) , Race, Magx Thiam (keyboards) , Galass, Mbaye Joola (percussion) , Beuz (drums) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Thies f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128149 , vital:36081 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC10-06
- Description: Senegalese band featuring singing accompanied by keyboard, guitar and percussion
- Full Text: false
- Date Issued: 2000
- Authors: Ma Sane, Do Sagna, Yade (vocals) , Toto (guitar) , Race, Magx Thiam (keyboards) , Galass, Mbaye Joola (percussion) , Beuz (drums) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Thies f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128149 , vital:36081 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC10-06
- Description: Senegalese band featuring singing accompanied by keyboard, guitar and percussion
- Full Text: false
- Date Issued: 2000
Maam Daba
- Ma Sane, Do Sagna, Yade (vocals), Toto (guitar), Race, Magx Thiam (keyboards), Galass, Mbaye Joola (percussion), Beuz (drums), Studio 2000
- Authors: Ma Sane, Do Sagna, Yade (vocals) , Toto (guitar) , Race, Magx Thiam (keyboards) , Galass, Mbaye Joola (percussion) , Beuz (drums) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Thies f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128144 , vital:36080 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC10-05
- Description: Senegalese band featuring singing accompanied by keyboard, guitar and percussion
- Full Text: false
- Date Issued: 2000
- Authors: Ma Sane, Do Sagna, Yade (vocals) , Toto (guitar) , Race, Magx Thiam (keyboards) , Galass, Mbaye Joola (percussion) , Beuz (drums) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Thies f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128144 , vital:36080 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC10-05
- Description: Senegalese band featuring singing accompanied by keyboard, guitar and percussion
- Full Text: false
- Date Issued: 2000
Baay Ndongo
- Ma Sane, Do Sagna, Yade (vocals), Toto (guitar), Race, Magx Thiam (keyboards), Galass, Mbaye Joola (percussion), Beuz (drums), Studio 2000
- Authors: Ma Sane, Do Sagna, Yade (vocals) , Toto (guitar) , Race, Magx Thiam (keyboards) , Galass, Mbaye Joola (percussion) , Beuz (drums) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Thies f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128113 , vital:36077 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC10-02
- Description: Senegalese band featuring singing accompanied by keyboard, guitar and percussion
- Full Text: false
- Date Issued: 2000
- Authors: Ma Sane, Do Sagna, Yade (vocals) , Toto (guitar) , Race, Magx Thiam (keyboards) , Galass, Mbaye Joola (percussion) , Beuz (drums) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Thies f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128113 , vital:36077 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC10-02
- Description: Senegalese band featuring singing accompanied by keyboard, guitar and percussion
- Full Text: false
- Date Issued: 2000
Nafi Yem
- Ma Sane, Do Sagna, Yade (vocals), Toto (guitar), Race, Magx Thiam (keyboards), Galass, Mbaye Joola (percussion), Beuz (drums), Studio 2000
- Authors: Ma Sane, Do Sagna, Yade (vocals) , Toto (guitar) , Race, Magx Thiam (keyboards) , Galass, Mbaye Joola (percussion) , Beuz (drums) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Thies f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128171 , vital:36083 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC10-08
- Description: Senegalese band featuring singing accompanied by keyboard, guitar and percussion
- Full Text: false
- Date Issued: 2000
- Authors: Ma Sane, Do Sagna, Yade (vocals) , Toto (guitar) , Race, Magx Thiam (keyboards) , Galass, Mbaye Joola (percussion) , Beuz (drums) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Thies f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128171 , vital:36083 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC10-08
- Description: Senegalese band featuring singing accompanied by keyboard, guitar and percussion
- Full Text: false
- Date Issued: 2000
18 heures
- Ma Sane, Do Sagna, Yade (vocals), Toto (guitar), Race, Magx Thiam (keyboards), Galass, Mbaye Joola (percussion), Beuz (drums), Studio 2000
- Authors: Ma Sane, Do Sagna, Yade (vocals) , Toto (guitar) , Race, Magx Thiam (keyboards) , Galass, Mbaye Joola (percussion) , Beuz (drums) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Thies f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128162 , vital:36082 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC10-07
- Description: Senegalese band featuring singing accompanied by keyboard, guitar and percussion
- Full Text: false
- Date Issued: 2000
- Authors: Ma Sane, Do Sagna, Yade (vocals) , Toto (guitar) , Race, Magx Thiam (keyboards) , Galass, Mbaye Joola (percussion) , Beuz (drums) , Studio 2000
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Thies f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128162 , vital:36082 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC10-07
- Description: Senegalese band featuring singing accompanied by keyboard, guitar and percussion
- Full Text: false
- Date Issued: 2000
Gender, rock and the electrical guitar : A post -structural reading
- Fourie, Jeandre, Potgieter, Zelda
- Authors: Fourie, Jeandre , Potgieter, Zelda
- Date: 2020
- Subjects: Rock Music -- History -- Criticism , Gender identity in Music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/46880 , vital:39721
- Description: Rock ‘n’ roll and, by extension, the electric guitar, is widely considered as a “gendered field of practice” (Leonard 2015: 184), governed by the hyper-masculine ideal (Hartman and Schmid 2014: 60). Both function as extensions of masculinity, representing an ideological binary of male superiority and female inferiority. This manifests concretely in the perceived disparity regarding gender representation amongst rock musicians, particularly guitarists, and often leads to somewhat one-dimensional views about the misogyny associated with the genre (Gracyk 2001: 182-183). However, by applying a post-structural reading and deconstructing the binary according to a theoretical framework inspired by the works of Julia Kristeva -- presented in a Hegelian dialectical model, with additional insight drawn from the works of Jacques Lacan and Sigmund Freud- it becomes apparent that the male claim to, and overrepresentation within,the genre is a multifaceted issue, born of a combination of natural and social constructionist factors.
- Full Text:
- Date Issued: 2020
- Authors: Fourie, Jeandre , Potgieter, Zelda
- Date: 2020
- Subjects: Rock Music -- History -- Criticism , Gender identity in Music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/46880 , vital:39721
- Description: Rock ‘n’ roll and, by extension, the electric guitar, is widely considered as a “gendered field of practice” (Leonard 2015: 184), governed by the hyper-masculine ideal (Hartman and Schmid 2014: 60). Both function as extensions of masculinity, representing an ideological binary of male superiority and female inferiority. This manifests concretely in the perceived disparity regarding gender representation amongst rock musicians, particularly guitarists, and often leads to somewhat one-dimensional views about the misogyny associated with the genre (Gracyk 2001: 182-183). However, by applying a post-structural reading and deconstructing the binary according to a theoretical framework inspired by the works of Julia Kristeva -- presented in a Hegelian dialectical model, with additional insight drawn from the works of Jacques Lacan and Sigmund Freud- it becomes apparent that the male claim to, and overrepresentation within,the genre is a multifaceted issue, born of a combination of natural and social constructionist factors.
- Full Text:
- Date Issued: 2020
It's a pity
- Monwabisi Gladstone Sabani, Tracey, Andrew T N
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) , Folk music -- South Africa , Blacks -- Music , Concertina music , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/100931 , vital:31900 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC083a-14
- Description: Topical Xhosa urban song with guitar and concertina accompaniment
- Full Text: false
- Date Issued: 1987
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) , Folk music -- South Africa , Blacks -- Music , Concertina music , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/100931 , vital:31900 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC083a-14
- Description: Topical Xhosa urban song with guitar and concertina accompaniment
- Full Text: false
- Date Issued: 1987
Somebody
- Monwabisi Gladstone Sabani, Tracey, Andrew T N
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) , Folk music -- South Africa , Topical song , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/103396 , vital:32241 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC091a-11
- Description: Topical song with guitar accompaniment
- Full Text: false
- Date Issued: 1987
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) , Folk music -- South Africa , Topical song , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/103396 , vital:32241 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC091a-11
- Description: Topical song with guitar accompaniment
- Full Text: false
- Date Issued: 1987
It's amazing
- Monwabisi Gladstone Sabani, Tracey, Andrew T N
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) , Folk music -- South Africa , Topical song , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/104204 , vital:32345 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC093a-11
- Description: Topical song with guitar accompaniment
- Full Text: false
- Date Issued: 1987
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) , Folk music -- South Africa , Topical song , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/104204 , vital:32345 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC093a-11
- Description: Topical song with guitar accompaniment
- Full Text: false
- Date Issued: 1987
This is my day
- Monwabisi Gladstone Sabani, Tracey, Andrew T N
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) , Folk music -- South Africa , Dance music , Bass guitar , Drum , Sub-Saharan African music , Africa South Africa Grahamstown f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/107158 , vital:32769 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC104a-01
- Description: Dance song with bass guitar and drum accompaniment
- Full Text: false
- Date Issued: 1987
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) , Folk music -- South Africa , Dance music , Bass guitar , Drum , Sub-Saharan African music , Africa South Africa Grahamstown f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/107158 , vital:32769 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC104a-01
- Description: Dance song with bass guitar and drum accompaniment
- Full Text: false
- Date Issued: 1987
Kudala mina ngiyifuna Le nto
- Monwabisi Gladstone Sabani, Tracey, Andrew T N
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) , Folk music -- South Africa , Topical song , Guitar , Drum , Bass (Stringed instrument) , Sub-Saharan African music , Africa South Africa Grahamstown f-sa
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/102692 , vital:32163 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC089a-13
- Description: Topical song with guitar, drum and bass accompaniment
- Full Text: false
- Date Issued: 1987
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) , Folk music -- South Africa , Topical song , Guitar , Drum , Bass (Stringed instrument) , Sub-Saharan African music , Africa South Africa Grahamstown f-sa
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/102692 , vital:32163 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC089a-13
- Description: Topical song with guitar, drum and bass accompaniment
- Full Text: false
- Date Issued: 1987
This world is so tough
- Monwabisi Gladstone Sabani, Tracey, Andrew T N
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) , Folk music -- South Africa , Topical songs , Bass guitar , Popular music , Sub-Saharan African music , Africa South Africa Grahamstown f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/105382 , vital:32507 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC096a-08
- Description: Xhosa urban topical song accompanied by bass guitar
- Full Text: false
- Date Issued: 1987
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) , Folk music -- South Africa , Topical songs , Bass guitar , Popular music , Sub-Saharan African music , Africa South Africa Grahamstown f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/105382 , vital:32507 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC096a-08
- Description: Xhosa urban topical song accompanied by bass guitar
- Full Text: false
- Date Issued: 1987
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