Limanya
- Founy Faya (author, composer, lead vocal), Marcelin Yace (flute), Evan's Yace (guitar, arrangement), Jojo (bass), Kone Ibrahim, Founy Faya (percussion), Astride, Oliza, Hariton T Cheky (chorus), Showbiz
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129659 , vital:36317 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-04
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129659 , vital:36317 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-04
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
Blacky's Groove (Dub)
- Founy Faya (author, composer, lead vocal), Marcelin Yace (flute), Evan's Yace (guitar, arrangement), Jojo (bass), Kone Ibrahim, Founy Faya (percussion), Astride, Oliza, Hariton T Cheky (chorus), Showbiz
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129678 , vital:36320 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-07
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129678 , vital:36320 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-07
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
Biliguiri
- Founy Faya (author, composer, lead vocal), Marcelin Yace (flute), Evan's Yace (guitar, arrangement), Jojo (bass), Kone Ibrahim, Founy Faya (percussion), Astride, Oliza, Hariton T Cheky (chorus), Showbiz
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129673 , vital:36319 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-06
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129673 , vital:36319 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-06
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
Africa Unity
- Founy Faya (author, composer, lead vocal), Marcelin Yace (flute), Evan's Yace (guitar, arrangement), Jojo (bass), Kone Ibrahim, Founy Faya (percussion), Astride, Oliza, Hariton T Cheky (chorus), Showbiz
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French , English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129641 , vital:36315 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-02
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French , English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129641 , vital:36315 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-02
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
Blacky's Groove
- Founy Faya (author, composer, lead vocal), Marcelin Yace (flute), Evan's Yace (guitar, arrangement), Jojo (bass), Kone Ibrahim, Founy Faya (percussion), Astride, Oliza, Hariton T Cheky (chorus), Showbiz
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129632 , vital:36314 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-01
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129632 , vital:36314 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-01
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
Kouman
- Founy Faya (author, composer, lead vocal), Marcelin Yace (flute), Evan's Yace (guitar, arrangement), Jojo (bass), Kone Ibrahim, Founy Faya (percussion), Astride, Oliza, Hariton T Cheky (chorus), Showbiz
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129695 , vital:36321 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-08
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129695 , vital:36321 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-08
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
Tougan
- Founy Faya (author, composer, lead vocal), Marcelin Yace (flute), Evan's Yace (guitar, arrangement), Jojo (bass), Kone Ibrahim, Founy Faya (percussion), Astride, Oliza, Hariton T Cheky (chorus), Showbiz
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129668 , vital:36318 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-05
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129668 , vital:36318 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-05
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
Tougan (Dub)
- Founy Faya (author, composer, lead vocal), Marcelin Yace (flute), Evan's Yace (guitar, arrangement), Jojo (bass), Kone Ibrahim, Founy Faya (percussion), Astride, Oliza, Hariton T Cheky (chorus), Showbiz
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129646 , vital:36316 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-03
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129646 , vital:36316 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-03
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
Diomantaire Balla-Kissidougou
- Saly Sidibe, Harouna Bary (arrangement), Adama Drame (guitar solo), Batass (bass guitar), Lamine Camara (electric piano), Mamadou Koita (Djembe), Sidi Coulibaly (drums), Awa Diabate, Sanota Doumbie (chorus), Ali Landoure
- Authors: Saly Sidibe , Harouna Bary (arrangement) , Adama Drame (guitar solo) , Batass (bass guitar) , Lamine Camara (electric piano) , Mamadou Koita (Djembe) , Sidi Coulibaly (drums) , Awa Diabate, Sanota Doumbie (chorus) , Ali Landoure
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000 , Africa Mali Wassoulou f-ml
- Language: Bambara
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127331 , vital:36001 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDCO3-02
- Description: Singing accompanied by guitar and N'goni, electric piano and flute
- Full Text: false
- Date Issued: 2000
- Authors: Saly Sidibe , Harouna Bary (arrangement) , Adama Drame (guitar solo) , Batass (bass guitar) , Lamine Camara (electric piano) , Mamadou Koita (Djembe) , Sidi Coulibaly (drums) , Awa Diabate, Sanota Doumbie (chorus) , Ali Landoure
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000 , Africa Mali Wassoulou f-ml
- Language: Bambara
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127331 , vital:36001 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDCO3-02
- Description: Singing accompanied by guitar and N'goni, electric piano and flute
- Full Text: false
- Date Issued: 2000
Wali Diawara
- Saly Sidibe, Harouna Bary (arrangement), Adama Drame (guitar solo), Batass (bass guitar), Lamine Camara (electric piano), Mamadou Koita (Djembe), Sidi Coulibaly (drums), Awa Diabate, Sanota Doumbie (chorus), Ali Landoure
- Authors: Saly Sidibe , Harouna Bary (arrangement) , Adama Drame (guitar solo) , Batass (bass guitar) , Lamine Camara (electric piano) , Mamadou Koita (Djembe) , Sidi Coulibaly (drums) , Awa Diabate, Sanota Doumbie (chorus) , Ali Landoure
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000 , Africa Mali Wassoulou f-ml
- Language: Bambara
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127349 , vital:36003 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDCO3-04
- Description: Singing accompanied by guitar and N'goni, electric piano
- Full Text: false
- Date Issued: 2000
- Authors: Saly Sidibe , Harouna Bary (arrangement) , Adama Drame (guitar solo) , Batass (bass guitar) , Lamine Camara (electric piano) , Mamadou Koita (Djembe) , Sidi Coulibaly (drums) , Awa Diabate, Sanota Doumbie (chorus) , Ali Landoure
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000 , Africa Mali Wassoulou f-ml
- Language: Bambara
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127349 , vital:36003 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDCO3-04
- Description: Singing accompanied by guitar and N'goni, electric piano
- Full Text: false
- Date Issued: 2000
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
Oui ou non
- Amadou Sodia (lead singer, bolon, kora), Hadja Maningbe, Djanka Diabate, Awa Maiga, Valerie Belinga (chorus), Ansoumane Kante, Yeye (percussions), Adama Conde (balafon), Alpha Camara (congas), Ousmane Kouyate, Djely Moussa Kouyate, Manfila Kante, Patrick Mareck, Briscard (guitar), Djessou Mory (rythm guitar, solo), Brass: Christian Martinez (trumpet), Bernard Camoin (trombone), Thierry Farrugia (saxophone), Phillipe Guez (arrangement, keyboard), Patrick Mareck
- Authors: Amadou Sodia (lead singer, bolon, kora) , Hadja Maningbe, Djanka Diabate, Awa Maiga, Valerie Belinga (chorus) , Ansoumane Kante, Yeye (percussions) , Adama Conde (balafon) , Alpha Camara (congas) , Ousmane Kouyate, Djely Moussa Kouyate, Manfila Kante, Patrick Mareck, Briscard (guitar) , Djessou Mory (rythm guitar, solo) , Brass: Christian Martinez (trumpet), Bernard Camoin (trombone), Thierry Farrugia (saxophone) , Phillipe Guez (arrangement, keyboard) , Patrick Mareck
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Guinea Conakry f-gv
- Language: Susu
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128663 , vital:36136 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC13-08
- Description: Fusion between traditional Guinean song structures and instruments and western instruments and influence
- Full Text: false
- Date Issued: 1999
- Authors: Amadou Sodia (lead singer, bolon, kora) , Hadja Maningbe, Djanka Diabate, Awa Maiga, Valerie Belinga (chorus) , Ansoumane Kante, Yeye (percussions) , Adama Conde (balafon) , Alpha Camara (congas) , Ousmane Kouyate, Djely Moussa Kouyate, Manfila Kante, Patrick Mareck, Briscard (guitar) , Djessou Mory (rythm guitar, solo) , Brass: Christian Martinez (trumpet), Bernard Camoin (trombone), Thierry Farrugia (saxophone) , Phillipe Guez (arrangement, keyboard) , Patrick Mareck
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Guinea Conakry f-gv
- Language: Susu
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128663 , vital:36136 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC13-08
- Description: Fusion between traditional Guinean song structures and instruments and western instruments and influence
- Full Text: false
- Date Issued: 1999
Substance over form in the context of general anti-avoidance provisions in the income tax act
- Authors: Saba, Ncumisa
- Date: 2018
- Subjects: Income tax -- Law and legislation -- South Africa , Tax evasion -- South Africa Tax planning -- South Africa Taxation -- Law and legislation -- South Africa
- Language: English
- Type: Thesis , Masters , MCom
- Identifier: http://hdl.handle.net/10948/35049 , vital:33610
- Description: The provisions of GAAR are contained in sections 80A to 80L of the Income Tax Act 58 of 1962. The main objective of the GAAR is to prohibit impermissible tax avoidance. One of the main purposes of the GAAR is to identify the true nature of a transaction and therefore the provisions of the GAAR focus on the substance of the transaction rather than its form. There can be however difficulty in determining the true substance of a transaction and the intention of the taxpayer when applying the substance over form principle. The substance over form principle is not defined in the GAAR, therefore it is critical that an understanding of this principle is obtained. The purpose of the research was to critically analyse the principle of substance over form in the context of the GAAR. This analysis assessed whether the GAAR is able to effectively identify substance over form in complex tax avoidance arrangements that have been formulated by the taxpayer. The GAAR has provided the Commissioner which tests to apply in order to identify the substance of the transaction over its form and its seeks to remove the façade that is created by tax avoidance schemes however it was submitted that there were areas of the GAAR that require improvement in order to ensure transparency and consistent application of the GAAR. The research also analysed the tests applied by the courts in determining substance over form in different instances. It was determined that the courts apply the abnormality test and the lack of commercial purpose test when determining the substance of a transaction. A contrast of the principles applied the GAAR and the courts was also performed in order to ascertain whether there are any similarities and/or differences when determining the substance of a transaction. It was determined that the principles of the GAAR are not vastly different to the principles applied by the case law when determining substance of a transaction. In order to for the GAAR to be effective in determining substance of a transaction, it will have to be used with reference to case law.
- Full Text:
- Date Issued: 2018
- Authors: Saba, Ncumisa
- Date: 2018
- Subjects: Income tax -- Law and legislation -- South Africa , Tax evasion -- South Africa Tax planning -- South Africa Taxation -- Law and legislation -- South Africa
- Language: English
- Type: Thesis , Masters , MCom
- Identifier: http://hdl.handle.net/10948/35049 , vital:33610
- Description: The provisions of GAAR are contained in sections 80A to 80L of the Income Tax Act 58 of 1962. The main objective of the GAAR is to prohibit impermissible tax avoidance. One of the main purposes of the GAAR is to identify the true nature of a transaction and therefore the provisions of the GAAR focus on the substance of the transaction rather than its form. There can be however difficulty in determining the true substance of a transaction and the intention of the taxpayer when applying the substance over form principle. The substance over form principle is not defined in the GAAR, therefore it is critical that an understanding of this principle is obtained. The purpose of the research was to critically analyse the principle of substance over form in the context of the GAAR. This analysis assessed whether the GAAR is able to effectively identify substance over form in complex tax avoidance arrangements that have been formulated by the taxpayer. The GAAR has provided the Commissioner which tests to apply in order to identify the substance of the transaction over its form and its seeks to remove the façade that is created by tax avoidance schemes however it was submitted that there were areas of the GAAR that require improvement in order to ensure transparency and consistent application of the GAAR. The research also analysed the tests applied by the courts in determining substance over form in different instances. It was determined that the courts apply the abnormality test and the lack of commercial purpose test when determining the substance of a transaction. A contrast of the principles applied the GAAR and the courts was also performed in order to ascertain whether there are any similarities and/or differences when determining the substance of a transaction. It was determined that the principles of the GAAR are not vastly different to the principles applied by the case law when determining substance of a transaction. In order to for the GAAR to be effective in determining substance of a transaction, it will have to be used with reference to case law.
- Full Text:
- Date Issued: 2018
Banakoro Oumar Kouyate
- Saly Sidibe, Harouna Bary (arrangement), Adama Drame (guitar solo), Batoss (bass guitar), Lamine Camara (electric piano), Mamadou Koita (Djembe), Harouna Samake (N'goni), Sidi Coulibaly (drums), Awa Diabate, Sanota Doumbie (chorus), Ali Landoure
- Authors: Saly Sidibe , Harouna Bary (arrangement) , Adama Drame (guitar solo) , Batoss (bass guitar) , Lamine Camara (electric piano) , Mamadou Koita (Djembe) , Harouna Samake (N'goni) , Sidi Coulibaly (drums) , Awa Diabate, Sanota Doumbie (chorus) , Ali Landoure
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000 , Africa Mali Wassoulou f-ml
- Language: Bambara
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127386 , vital:36008 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDCO3-08
- Description: Singing accompanied by guitar and N'goni, electric piano and flute
- Full Text: false
- Date Issued: 2000
- Authors: Saly Sidibe , Harouna Bary (arrangement) , Adama Drame (guitar solo) , Batoss (bass guitar) , Lamine Camara (electric piano) , Mamadou Koita (Djembe) , Harouna Samake (N'goni) , Sidi Coulibaly (drums) , Awa Diabate, Sanota Doumbie (chorus) , Ali Landoure
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000 , Africa Mali Wassoulou f-ml
- Language: Bambara
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127386 , vital:36008 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDCO3-08
- Description: Singing accompanied by guitar and N'goni, electric piano and flute
- Full Text: false
- Date Issued: 2000
BEN and CO
- Saly Sidibe, Harouna Bary (arrangement), Adama Drame (guitar solo), Batoss (bass guitar), Lamine Camara (electric piano), Mamadou Koita (Djembe), Harouna Samake (N'goni), Sidi Coulibaly (drums), Awa Diabate, Sanota Doumbie (chorus), Ali Landoure
- Authors: Saly Sidibe , Harouna Bary (arrangement) , Adama Drame (guitar solo) , Batoss (bass guitar) , Lamine Camara (electric piano) , Mamadou Koita (Djembe) , Harouna Samake (N'goni) , Sidi Coulibaly (drums) , Awa Diabate, Sanota Doumbie (chorus) , Ali Landoure
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000 , Africa Mali Wassoulou f-ml
- Language: Bambara
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127381 , vital:36007 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDCO3-07
- Description: Singing accompanied by guitar and N'goni, electric piano and flute
- Full Text: false
- Date Issued: 2000
- Authors: Saly Sidibe , Harouna Bary (arrangement) , Adama Drame (guitar solo) , Batoss (bass guitar) , Lamine Camara (electric piano) , Mamadou Koita (Djembe) , Harouna Samake (N'goni) , Sidi Coulibaly (drums) , Awa Diabate, Sanota Doumbie (chorus) , Ali Landoure
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000 , Africa Mali Wassoulou f-ml
- Language: Bambara
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127381 , vital:36007 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDCO3-07
- Description: Singing accompanied by guitar and N'goni, electric piano and flute
- Full Text: false
- Date Issued: 2000
Wali nyuman don
- Saly Sidibe, Harouna Bary (arrangement), Adama Drame (guitar solo), Batoss (bass guitar), Lamine Camara (electric piano), Mamadou Koita (Djembe), Harouna Samake (N'goni), Sidi Coulibaly (drums), Awa Diabate, Sanota Doumbie (chorus), Ali Landoure
- Authors: Saly Sidibe , Harouna Bary (arrangement) , Adama Drame (guitar solo) , Batoss (bass guitar) , Lamine Camara (electric piano) , Mamadou Koita (Djembe) , Harouna Samake (N'goni) , Sidi Coulibaly (drums) , Awa Diabate, Sanota Doumbie (chorus) , Ali Landoure
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000 , Africa Mali Wassoulou f-ml
- Language: Bambara
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127391 , vital:36009 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDCO3-09
- Description: Singing accompanied by guitar and N'goni, electric piano and flute
- Full Text: false
- Date Issued: 2000
- Authors: Saly Sidibe , Harouna Bary (arrangement) , Adama Drame (guitar solo) , Batoss (bass guitar) , Lamine Camara (electric piano) , Mamadou Koita (Djembe) , Harouna Samake (N'goni) , Sidi Coulibaly (drums) , Awa Diabate, Sanota Doumbie (chorus) , Ali Landoure
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000 , Africa Mali Wassoulou f-ml
- Language: Bambara
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127391 , vital:36009 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDCO3-09
- Description: Singing accompanied by guitar and N'goni, electric piano and flute
- Full Text: false
- Date Issued: 2000
Tieou magni
- Saly Sidibe, Harouna Bary (arrangement), Adama Drame (guitar solo), Batoss (bass guitar), Lamine Camara (electric piano), Mamadou Koita (Djembe), Harouna Samake (N'goni), Sidi Coulibaly (drums), Awa Diabate, Sanota Doumbie (chorus), Ali Landoure
- Authors: Saly Sidibe , Harouna Bary (arrangement) , Adama Drame (guitar solo) , Batoss (bass guitar) , Lamine Camara (electric piano) , Mamadou Koita (Djembe) , Harouna Samake (N'goni) , Sidi Coulibaly (drums) , Awa Diabate, Sanota Doumbie (chorus) , Ali Landoure
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000 , Africa Mali Wassoulou f-ml
- Language: Bambara
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127357 , vital:36004 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDCO3-05
- Description: Singing accompanied by guitar and N'goni, electric piano
- Full Text: false
- Date Issued: 2000
- Authors: Saly Sidibe , Harouna Bary (arrangement) , Adama Drame (guitar solo) , Batoss (bass guitar) , Lamine Camara (electric piano) , Mamadou Koita (Djembe) , Harouna Samake (N'goni) , Sidi Coulibaly (drums) , Awa Diabate, Sanota Doumbie (chorus) , Ali Landoure
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000 , Africa Mali Wassoulou f-ml
- Language: Bambara
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127357 , vital:36004 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDCO3-05
- Description: Singing accompanied by guitar and N'goni, electric piano
- Full Text: false
- Date Issued: 2000
El hadji Diakali Toure
- Saly Sidibe, Harouna Bary (arrangement), Adama Drame (guitar solo), Batass (bass guitar), Lamine Camara (electric piano), Mamadou Koita (Djembe), Sidi Coulibaly (drums), Awa Diabate, Sanota Doumbie (chorus), Ali Landoure
- Authors: Saly Sidibe , Harouna Bary (arrangement) , Adama Drame (guitar solo) , Batass (bass guitar) , Lamine Camara (electric piano) , Mamadou Koita (Djembe) , Sidi Coulibaly (drums) , Awa Diabate, Sanota Doumbie (chorus) , Ali Landoure
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127340 , vital:36002
- Description: Singing accompanied by guitar and N'goni, electric piano
- Full Text: false
- Date Issued: 2000
- Authors: Saly Sidibe , Harouna Bary (arrangement) , Adama Drame (guitar solo) , Batass (bass guitar) , Lamine Camara (electric piano) , Mamadou Koita (Djembe) , Sidi Coulibaly (drums) , Awa Diabate, Sanota Doumbie (chorus) , Ali Landoure
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127340 , vital:36002
- Description: Singing accompanied by guitar and N'goni, electric piano
- Full Text: false
- Date Issued: 2000
Quiz special
- Quiz quiz, Moyake, Sidney, Tracey, Hugh
- Authors: Quiz quiz , Moyake, Sidney , Tracey, Hugh
- Date: 1957-04-29
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa South Africa Grahamstown f-sa
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/227514 , vital:49456 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT383-L4 , Research no. L1C3
- Description: A town dance song accompanied by saxophone, guitar, trumpets, piano and drums.
- Full Text: false
- Date Issued: 1957-04-29
- Authors: Quiz quiz , Moyake, Sidney , Tracey, Hugh
- Date: 1957-04-29
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa South Africa Grahamstown f-sa
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/227514 , vital:49456 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT383-L4 , Research no. L1C3
- Description: A town dance song accompanied by saxophone, guitar, trumpets, piano and drums.
- Full Text: false
- Date Issued: 1957-04-29