Liggey
- Micka Gomis (lead vocal, keyboard, percussion, composer, arranger), Pathe Jassi (bass, vocals), Ousmane Sowe (keyboard, horns, percussion), Omar Sowe (guitar), Ablaye "Bird" Ndiaye (saxophone), Papa Ndiaye Guewel (sabars, jimbe), Karim Mbaye (sabar), Kaare Wamberg (drums programming, vocals, guitar, bass), Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus), Studio 2000
- Authors: Micka Gomis (lead vocal, keyboard, percussion, composer, arranger) , Pathe Jassi (bass, vocals) , Ousmane Sowe (keyboard, horns, percussion) , Omar Sowe (guitar) , Ablaye "Bird" Ndiaye (saxophone) , Papa Ndiaye Guewel (sabars, jimbe) , Karim Mbaye (sabar) , Kaare Wamberg (drums programming, vocals, guitar, bass) , Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129108 , vital:36218 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC18-07
- Description: Senegalese band, featuring solo male vocals and chorus. The song mixes traditional Senegalese rhythm and sounds with the western soul genre, accompanied by traditional and modern instruments
- Full Text: false
- Date Issued: 1999
- Authors: Micka Gomis (lead vocal, keyboard, percussion, composer, arranger) , Pathe Jassi (bass, vocals) , Ousmane Sowe (keyboard, horns, percussion) , Omar Sowe (guitar) , Ablaye "Bird" Ndiaye (saxophone) , Papa Ndiaye Guewel (sabars, jimbe) , Karim Mbaye (sabar) , Kaare Wamberg (drums programming, vocals, guitar, bass) , Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129108 , vital:36218 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC18-07
- Description: Senegalese band, featuring solo male vocals and chorus. The song mixes traditional Senegalese rhythm and sounds with the western soul genre, accompanied by traditional and modern instruments
- Full Text: false
- Date Issued: 1999
Kellegeti
- Micka Gomis (lead vocal, keyboard, percussion, composer, arranger), Pathe Jassi (bass, vocals), Ousmane Sowe (keyboard, horns, percussion), Omar Sowe (guitar), Ablaye "Bird" Ndiaye (saxophone), Papa Ndiaye Guewel (sabars, jimbe), Karim Mbaye (sabar), Kaare Wamberg (drums programming, vocals, guitar, bass), Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus), Studio 2000
- Authors: Micka Gomis (lead vocal, keyboard, percussion, composer, arranger) , Pathe Jassi (bass, vocals) , Ousmane Sowe (keyboard, horns, percussion) , Omar Sowe (guitar) , Ablaye "Bird" Ndiaye (saxophone) , Papa Ndiaye Guewel (sabars, jimbe) , Karim Mbaye (sabar) , Kaare Wamberg (drums programming, vocals, guitar, bass) , Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129069 , vital:36214 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC18-05
- Description: Senegalese band, featuring solo male vocals and chorus. The song mixes traditional Senegalese rhythm and sounds with the western soul genre, accompanied by traditional and modern instruments
- Full Text: false
- Date Issued: 1999
- Authors: Micka Gomis (lead vocal, keyboard, percussion, composer, arranger) , Pathe Jassi (bass, vocals) , Ousmane Sowe (keyboard, horns, percussion) , Omar Sowe (guitar) , Ablaye "Bird" Ndiaye (saxophone) , Papa Ndiaye Guewel (sabars, jimbe) , Karim Mbaye (sabar) , Kaare Wamberg (drums programming, vocals, guitar, bass) , Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129069 , vital:36214 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC18-05
- Description: Senegalese band, featuring solo male vocals and chorus. The song mixes traditional Senegalese rhythm and sounds with the western soul genre, accompanied by traditional and modern instruments
- Full Text: false
- Date Issued: 1999
Bellengteng
- Micka Gomis (lead vocal, keyboard, percussion, composer, arranger), Pathe Jassi (bass, vocals), Ousmane Sowe (keyboard, horns, percussion), Omar Sowe (guitar), Ablaye "Bird" Ndiaye (saxophone), Papa Ndiaye Guewel (sabars, jimbe), Karim Mbaye (sabar), Kaare Wamberg (drums programming, vocals, guitar, bass), Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus), Studio 2000
- Authors: Micka Gomis (lead vocal, keyboard, percussion, composer, arranger) , Pathe Jassi (bass, vocals) , Ousmane Sowe (keyboard, horns, percussion) , Omar Sowe (guitar) , Ablaye "Bird" Ndiaye (saxophone) , Papa Ndiaye Guewel (sabars, jimbe) , Karim Mbaye (sabar) , Kaare Wamberg (drums programming, vocals, guitar, bass) , Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129060 , vital:36212 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC18-04
- Description: Senegalese band, featuring solo male vocals and chorus. The song mixes traditional Senegalese rhythm and sounds with the western soul genre, accompanied by traditional and modern instruments
- Full Text: false
- Date Issued: 1999
- Authors: Micka Gomis (lead vocal, keyboard, percussion, composer, arranger) , Pathe Jassi (bass, vocals) , Ousmane Sowe (keyboard, horns, percussion) , Omar Sowe (guitar) , Ablaye "Bird" Ndiaye (saxophone) , Papa Ndiaye Guewel (sabars, jimbe) , Karim Mbaye (sabar) , Kaare Wamberg (drums programming, vocals, guitar, bass) , Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129060 , vital:36212 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC18-04
- Description: Senegalese band, featuring solo male vocals and chorus. The song mixes traditional Senegalese rhythm and sounds with the western soul genre, accompanied by traditional and modern instruments
- Full Text: false
- Date Issued: 1999
Kpihi-Gou
- Micka Gomis (lead vocal, keyboard, percussion, composer, arranger), Pathe Jassi (bass, vocals), Ousmane Sowe (keyboard, horns, percussion), Omar Sowe (guitar), Ablaye "Bird" Ndiaye (saxophone), Papa Ndiaye Guewel (sabars, jimbe), Karim Mbaye (sabar), Kaare Wamberg (drums programming, vocals, guitar, bass), Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus), Studio 2000
- Authors: Micka Gomis (lead vocal, keyboard, percussion, composer, arranger) , Pathe Jassi (bass, vocals) , Ousmane Sowe (keyboard, horns, percussion) , Omar Sowe (guitar) , Ablaye "Bird" Ndiaye (saxophone) , Papa Ndiaye Guewel (sabars, jimbe) , Karim Mbaye (sabar) , Kaare Wamberg (drums programming, vocals, guitar, bass) , Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129033 , vital:36208 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC18-01
- Description: Senegalese band, featuring solo male vocals and chorus. The song mixes traditional Senegalese rhythm and sounds with the western soul genre, accompanied by traditional and modern instruments
- Full Text: false
- Date Issued: 1999
- Authors: Micka Gomis (lead vocal, keyboard, percussion, composer, arranger) , Pathe Jassi (bass, vocals) , Ousmane Sowe (keyboard, horns, percussion) , Omar Sowe (guitar) , Ablaye "Bird" Ndiaye (saxophone) , Papa Ndiaye Guewel (sabars, jimbe) , Karim Mbaye (sabar) , Kaare Wamberg (drums programming, vocals, guitar, bass) , Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129033 , vital:36208 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC18-01
- Description: Senegalese band, featuring solo male vocals and chorus. The song mixes traditional Senegalese rhythm and sounds with the western soul genre, accompanied by traditional and modern instruments
- Full Text: false
- Date Issued: 1999
Nadu
- Micka Gomis (lead vocal, keyboard, percussion, composer, arranger), Pathe Jassi (bass, vocals), Ousmane Sowe (keyboard, horns, percussion), Omar Sowe (guitar), Ablaye "Bird" Ndiaye (saxophone), Papa Ndiaye Guewel (sabars, jimbe), Karim Mbaye (sabar), Kaare Wamberg (drums programming, vocals, guitar, bass), Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus), Studio 2000
- Authors: Micka Gomis (lead vocal, keyboard, percussion, composer, arranger) , Pathe Jassi (bass, vocals) , Ousmane Sowe (keyboard, horns, percussion) , Omar Sowe (guitar) , Ablaye "Bird" Ndiaye (saxophone) , Papa Ndiaye Guewel (sabars, jimbe) , Karim Mbaye (sabar) , Kaare Wamberg (drums programming, vocals, guitar, bass) , Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129088 , vital:36216 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC18-06
- Description: Senegalese band, featuring solo male vocals and chorus. The song mixes traditional Senegalese rhythm and sounds with the western soul genre, accompanied by traditional and modern instruments
- Full Text: false
- Date Issued: 1999
- Authors: Micka Gomis (lead vocal, keyboard, percussion, composer, arranger) , Pathe Jassi (bass, vocals) , Ousmane Sowe (keyboard, horns, percussion) , Omar Sowe (guitar) , Ablaye "Bird" Ndiaye (saxophone) , Papa Ndiaye Guewel (sabars, jimbe) , Karim Mbaye (sabar) , Kaare Wamberg (drums programming, vocals, guitar, bass) , Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129088 , vital:36216 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC18-06
- Description: Senegalese band, featuring solo male vocals and chorus. The song mixes traditional Senegalese rhythm and sounds with the western soul genre, accompanied by traditional and modern instruments
- Full Text: false
- Date Issued: 1999
Allal
- Micka Gomis (lead vocal, keyboard, percussion, composer, arranger), Pathe Jassi (bass, vocals), Ousmane Sowe (keyboard, horns, percussion), Omar Sowe (guitar), Ablaye "Bird" Ndiaye (saxophone), Papa Ndiaye Guewel (sabars, jimbe), Karim Mbaye (sabar), Kaare Wamberg (drums programming, vocals, guitar, bass), Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus), Studio 2000
- Authors: Micka Gomis (lead vocal, keyboard, percussion, composer, arranger) , Pathe Jassi (bass, vocals) , Ousmane Sowe (keyboard, horns, percussion) , Omar Sowe (guitar) , Ablaye "Bird" Ndiaye (saxophone) , Papa Ndiaye Guewel (sabars, jimbe) , Karim Mbaye (sabar) , Kaare Wamberg (drums programming, vocals, guitar, bass) , Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129123 , vital:36220 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC18-08
- Description: Senegalese band, featuring solo male vocals and chorus. The song mixes traditional Senegalese rhythm and sounds with the western soul genre, accompanied by traditional and modern instruments
- Full Text: false
- Date Issued: 1999
- Authors: Micka Gomis (lead vocal, keyboard, percussion, composer, arranger) , Pathe Jassi (bass, vocals) , Ousmane Sowe (keyboard, horns, percussion) , Omar Sowe (guitar) , Ablaye "Bird" Ndiaye (saxophone) , Papa Ndiaye Guewel (sabars, jimbe) , Karim Mbaye (sabar) , Kaare Wamberg (drums programming, vocals, guitar, bass) , Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129123 , vital:36220 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC18-08
- Description: Senegalese band, featuring solo male vocals and chorus. The song mixes traditional Senegalese rhythm and sounds with the western soul genre, accompanied by traditional and modern instruments
- Full Text: false
- Date Issued: 1999
Niwe
- Micka Gomis (lead vocal, keyboard, percussion, composer, arranger), Pathe Jassi (bass, vocals), Ousmane Sowe (keyboard, horns, percussion), Omar Sowe (guitar), Ablaye "Bird" Ndiaye (saxophone), Papa Ndiaye Guewel (sabars, jimbe), Karim Mbaye (sabar), Kaare Wamberg (drums programming, vocals, guitar, bass), Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus), Studio 2000
- Authors: Micka Gomis (lead vocal, keyboard, percussion, composer, arranger) , Pathe Jassi (bass, vocals) , Ousmane Sowe (keyboard, horns, percussion) , Omar Sowe (guitar) , Ablaye "Bird" Ndiaye (saxophone) , Papa Ndiaye Guewel (sabars, jimbe) , Karim Mbaye (sabar) , Kaare Wamberg (drums programming, vocals, guitar, bass) , Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129051 , vital:36210 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC18-03
- Description: Senegalese band, featuring solo male vocals and chorus. The song mixes traditional Senegalese rhythm and sounds with the western soul genre, accompanied by traditional and modern instruments
- Full Text: false
- Date Issued: 1999
- Authors: Micka Gomis (lead vocal, keyboard, percussion, composer, arranger) , Pathe Jassi (bass, vocals) , Ousmane Sowe (keyboard, horns, percussion) , Omar Sowe (guitar) , Ablaye "Bird" Ndiaye (saxophone) , Papa Ndiaye Guewel (sabars, jimbe) , Karim Mbaye (sabar) , Kaare Wamberg (drums programming, vocals, guitar, bass) , Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129051 , vital:36210 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC18-03
- Description: Senegalese band, featuring solo male vocals and chorus. The song mixes traditional Senegalese rhythm and sounds with the western soul genre, accompanied by traditional and modern instruments
- Full Text: false
- Date Issued: 1999
Jainaro
- Micka Gomis (lead vocal, keyboard, percussion, composer, arranger), Pathe Jassi (bass, vocals), Ousmane Sowe (keyboard, horns, percussion), Omar Sowe (guitar), Ablaye "Bird" Ndiaye (saxophone), Papa Ndiaye Guewel (sabars, jimbe), Karim Mbaye (sabar), Kaare Wamberg (drums programming, vocals, guitar, bass), Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus), Studio 2000
- Authors: Micka Gomis (lead vocal, keyboard, percussion, composer, arranger) , Pathe Jassi (bass, vocals) , Ousmane Sowe (keyboard, horns, percussion) , Omar Sowe (guitar) , Ablaye "Bird" Ndiaye (saxophone) , Papa Ndiaye Guewel (sabars, jimbe) , Karim Mbaye (sabar) , Kaare Wamberg (drums programming, vocals, guitar, bass) , Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129042 , vital:36209 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC18-02
- Description: Senegalese band, featuring solo male vocals and chorus. The song mixes traditional Senegalese rhythm and sounds with the western soul genre, accompanied by traditional and modern instruments
- Full Text: false
- Date Issued: 1999
- Authors: Micka Gomis (lead vocal, keyboard, percussion, composer, arranger) , Pathe Jassi (bass, vocals) , Ousmane Sowe (keyboard, horns, percussion) , Omar Sowe (guitar) , Ablaye "Bird" Ndiaye (saxophone) , Papa Ndiaye Guewel (sabars, jimbe) , Karim Mbaye (sabar) , Kaare Wamberg (drums programming, vocals, guitar, bass) , Josephone Ciss, Therese Mamady, Clara Mendy, Jeannette Senghor (chorus) , Studio 2000
- Date: 1999
- Subjects: Popular music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129042 , vital:36209 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC18-02
- Description: Senegalese band, featuring solo male vocals and chorus. The song mixes traditional Senegalese rhythm and sounds with the western soul genre, accompanied by traditional and modern instruments
- Full Text: false
- Date Issued: 1999
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
Farmers` perceptions of livestock feeding and rangeland management: dynamics of soil, forage and cattle blood serum mineral levels in two communal areas of the Eastern Cape, South Africa
- Authors: Gwelo, Farai Alice
- Date: 2012
- Subjects: Range management -- South Africa -- Eastern Cape , Animal feeding -- South Africa -- Eastern Cape , Livestock -- Breeding -- South Africa -- Eastern Cape , Communal rangelands -- South Africa -- Eastern Cape
- Language: English
- Type: Thesis , Masters , MSc Agric (Pasture Science)
- Identifier: vital:11581 , http://hdl.handle.net/10353/d1006785 , Range management -- South Africa -- Eastern Cape , Animal feeding -- South Africa -- Eastern Cape , Livestock -- Breeding -- South Africa -- Eastern Cape , Communal rangelands -- South Africa -- Eastern Cape
- Description: This study was conducted to determine livestock production, rangeland management and the mineral levels of soils, grass and cattle blood serum in two communal areas (Kwezana and Dikidikana). A total of 77 farmers from both Kwezana and Dikidikana were interviewed to determine farmers’ perceptions. Soil and grass sampling was done at three sites in each communal area. Soil and grass samples were analysed for N, Ca, Mg, K, P, Fe, Cu, Zn, Mn and Bo. Three, two and half year old Nguni heifers were randomly selected from each communal area and blood samples were collected for the analysis of Ca, Mg, K, Cu and Fe. Soil, grass and blood samples were all collected in two seasons (winter and summer). The results of the study revealed that feed availability was the major constraint in livestock production as indicated by 83 percent of thefarmers at Kwezana and 88 percent at Dikidikana. At both villages less than 20 percent practiced supplementation and grazing management. From both villages, 83 percent of the farmers did not know the forage species preferred by their cattle. The second study revealed significant seasonal variations in soil N in both study areas while forage N exhibited seasonal variations (P<0.05) only at Dikidikana. Spatial variation (P<0.05) in soil Mn was apparent in both seasons at Dikidikana and in summer at Kwezana. At Dikidikana forage P varied (P<0.05) both seasonally and spatially. In both study areas, there was a positive correlation (P<0.05) between soil and forage levels of Cu and Zn. The blood serum of animals from both study areas had higher (P<0.05) K and Na in winter than in summer. Farmers do not understand the composition of their rangelands but are concerned about cattle nutrition during winter. Indeed the mineral status of soils, forages and Nguni cattle blood serum tend to vary not only seasonally but also spatially. There is need therefore to assist the farmers to understand these changes in order to find ways of managing the rangelands in a way that will manipulate both seasonal and spatial variations in soil nutrients for the benefit of the grazing livestock. Further research is required to determine the digestibility of the forages and the amount of energy available from these forages for the grazing livestock.
- Full Text:
- Date Issued: 2012
- Authors: Gwelo, Farai Alice
- Date: 2012
- Subjects: Range management -- South Africa -- Eastern Cape , Animal feeding -- South Africa -- Eastern Cape , Livestock -- Breeding -- South Africa -- Eastern Cape , Communal rangelands -- South Africa -- Eastern Cape
- Language: English
- Type: Thesis , Masters , MSc Agric (Pasture Science)
- Identifier: vital:11581 , http://hdl.handle.net/10353/d1006785 , Range management -- South Africa -- Eastern Cape , Animal feeding -- South Africa -- Eastern Cape , Livestock -- Breeding -- South Africa -- Eastern Cape , Communal rangelands -- South Africa -- Eastern Cape
- Description: This study was conducted to determine livestock production, rangeland management and the mineral levels of soils, grass and cattle blood serum in two communal areas (Kwezana and Dikidikana). A total of 77 farmers from both Kwezana and Dikidikana were interviewed to determine farmers’ perceptions. Soil and grass sampling was done at three sites in each communal area. Soil and grass samples were analysed for N, Ca, Mg, K, P, Fe, Cu, Zn, Mn and Bo. Three, two and half year old Nguni heifers were randomly selected from each communal area and blood samples were collected for the analysis of Ca, Mg, K, Cu and Fe. Soil, grass and blood samples were all collected in two seasons (winter and summer). The results of the study revealed that feed availability was the major constraint in livestock production as indicated by 83 percent of thefarmers at Kwezana and 88 percent at Dikidikana. At both villages less than 20 percent practiced supplementation and grazing management. From both villages, 83 percent of the farmers did not know the forage species preferred by their cattle. The second study revealed significant seasonal variations in soil N in both study areas while forage N exhibited seasonal variations (P<0.05) only at Dikidikana. Spatial variation (P<0.05) in soil Mn was apparent in both seasons at Dikidikana and in summer at Kwezana. At Dikidikana forage P varied (P<0.05) both seasonally and spatially. In both study areas, there was a positive correlation (P<0.05) between soil and forage levels of Cu and Zn. The blood serum of animals from both study areas had higher (P<0.05) K and Na in winter than in summer. Farmers do not understand the composition of their rangelands but are concerned about cattle nutrition during winter. Indeed the mineral status of soils, forages and Nguni cattle blood serum tend to vary not only seasonally but also spatially. There is need therefore to assist the farmers to understand these changes in order to find ways of managing the rangelands in a way that will manipulate both seasonal and spatial variations in soil nutrients for the benefit of the grazing livestock. Further research is required to determine the digestibility of the forages and the amount of energy available from these forages for the grazing livestock.
- Full Text:
- Date Issued: 2012
Activate: 2006 - October
- Date: 2006-10
- Subjects: Grahamstown -- Newspapers , Journalism, Students -- South Africa , Rhodes University -- Activate , Rhodes University -- Students , Student newspapers and periodicals -- South Africa
- Language: English
- Type: Text
- Identifier: vital:14400 , http://hdl.handle.net/10962/d1019272
- Description: Activate is the Independent Student Newspaper of Rhodes University. Located in Grahamstown, Activate was established in 1947 as Rhodeo, and during apartheid became an active part of the struggle for freedom of expression as part of the now defunct South African Student Press Union. Currently Activate is committed to informing Rhodes University students, staff and community members about relevant issues, mainly on campus. These issues range from hard news to more creative journalism. While Activate acts as a news source, one of its main objectives it to be accessible as a training ground for student journalists. The newspaper is run entirely by the students and is published twice a term. Activate is a free newspaper which receives an annual grant from the Rhodes University Student Representative Council, however, majority of its revenue is generated through advertising.
- Full Text:
- Date Issued: 2006-10
- Date: 2006-10
- Subjects: Grahamstown -- Newspapers , Journalism, Students -- South Africa , Rhodes University -- Activate , Rhodes University -- Students , Student newspapers and periodicals -- South Africa
- Language: English
- Type: Text
- Identifier: vital:14400 , http://hdl.handle.net/10962/d1019272
- Description: Activate is the Independent Student Newspaper of Rhodes University. Located in Grahamstown, Activate was established in 1947 as Rhodeo, and during apartheid became an active part of the struggle for freedom of expression as part of the now defunct South African Student Press Union. Currently Activate is committed to informing Rhodes University students, staff and community members about relevant issues, mainly on campus. These issues range from hard news to more creative journalism. While Activate acts as a news source, one of its main objectives it to be accessible as a training ground for student journalists. The newspaper is run entirely by the students and is published twice a term. Activate is a free newspaper which receives an annual grant from the Rhodes University Student Representative Council, however, majority of its revenue is generated through advertising.
- Full Text:
- Date Issued: 2006-10
Engel en aarde : gedagtes oor "natuur en bo-natuur" by die lees van Sheila Cussons
- Authors: De Villiers, Johanna Helena
- Date: 1985
- Subjects: Cussons, Sheila -- Criticism and interpretation
- Language: Afrikaans
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3619 , http://hdl.handle.net/10962/d1006960
- Description: Hierdie studie is In poging om uit die veelgeskakeerde digwerk van Sheila Cussons een draad te neem en dit deur te volg; in die hoop dat dit 'n Ariadne-draad mag word tot beter besef van die ryk gestruktureerdheid en diepte van haar verwysingsveld, en die betekenis daarvan vir ons tyd. Dis dan primer die beeld van die engel wat nagespeur word, as bonatuurlike wese wat nie tot die vlak van die fisiese inkorporeer nie. (From Ch. 1)
- Full Text:
- Date Issued: 1985
- Authors: De Villiers, Johanna Helena
- Date: 1985
- Subjects: Cussons, Sheila -- Criticism and interpretation
- Language: Afrikaans
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3619 , http://hdl.handle.net/10962/d1006960
- Description: Hierdie studie is In poging om uit die veelgeskakeerde digwerk van Sheila Cussons een draad te neem en dit deur te volg; in die hoop dat dit 'n Ariadne-draad mag word tot beter besef van die ryk gestruktureerdheid en diepte van haar verwysingsveld, en die betekenis daarvan vir ons tyd. Dis dan primer die beeld van die engel wat nagespeur word, as bonatuurlike wese wat nie tot die vlak van die fisiese inkorporeer nie. (From Ch. 1)
- Full Text:
- Date Issued: 1985
Rhodeo, Vol. 31, No. 6
- Date: 1977-08-01
- Subjects: Grahamstown -- Newspapers , Journalism, Students -- South Africa , Rhodes University -- Activate , Rhodes University -- Students , Student newspapers and periodicals -- South Africa
- Language: English
- Type: Text
- Identifier: vital:14682 , http://hdl.handle.net/10962/d1019554
- Description: Rhodeo is the Independent Student Newspaper of Rhodes University. Located in Grahamstown, Rhodeo was established in 1947, and renamed in 1994 as Activate. During apartheid Rhodeo became an active part of the struggle for freedom of expression as part of the now defunct South African Student Press Union. Currently Activate is committed to informing Rhodes University students, staff and community members about relevant issues, mainly on campus. These issues range from hard news to more creative journalism. While Activate acts as a news source, one of its main objectives it to be accessible as a training ground for student journalists. The newspaper is run entirely by the students and is published twice a term. Activate is a free newspaper which receives an annual grant from the Rhodes University Student Representative Council, however, majority of its revenue is generated through advertising.
- Full Text:
- Date Issued: 1977-08-01
- Date: 1977-08-01
- Subjects: Grahamstown -- Newspapers , Journalism, Students -- South Africa , Rhodes University -- Activate , Rhodes University -- Students , Student newspapers and periodicals -- South Africa
- Language: English
- Type: Text
- Identifier: vital:14682 , http://hdl.handle.net/10962/d1019554
- Description: Rhodeo is the Independent Student Newspaper of Rhodes University. Located in Grahamstown, Rhodeo was established in 1947, and renamed in 1994 as Activate. During apartheid Rhodeo became an active part of the struggle for freedom of expression as part of the now defunct South African Student Press Union. Currently Activate is committed to informing Rhodes University students, staff and community members about relevant issues, mainly on campus. These issues range from hard news to more creative journalism. While Activate acts as a news source, one of its main objectives it to be accessible as a training ground for student journalists. The newspaper is run entirely by the students and is published twice a term. Activate is a free newspaper which receives an annual grant from the Rhodes University Student Representative Council, however, majority of its revenue is generated through advertising.
- Full Text:
- Date Issued: 1977-08-01
Graviton multipoint functions at the AdS boundary
- Authors: Brustein, R , Medved, A J M
- Date: 2013
- Language: English
- Type: text , Article
- Identifier: vital:6819 , http://hdl.handle.net/10962/d1004425
- Description: The gauge-gravity duality can be used to relate connected multipoint graviton functions to connected multipoint correlation functions of the stress tensor of a strongly coupled fluid. Here, we show how to construct the connected graviton functions for a particular kinematic regime that is ideal for discriminating between different gravitational theories, in particular between Einstein theory and its leading-order string theory correction. Our analysis begins with the one-particle irreducible graviton amplitudes in an anti-de Sitter black brane background.We show how these can be used to calculate the connected graviton functions and demonstrate that the two types of amplitudes agree in some cases. It is then asserted on physical grounds that this agreement persists in all cases for both Einstein gravity and its leading-order correction. This outcome implies that the corresponding field-theory correlation functions can be read off directly from the bulk Lagrangian, just as can be done for the ratio of the shear viscosity to the entropy density.
- Full Text:
- Date Issued: 2013
- Authors: Brustein, R , Medved, A J M
- Date: 2013
- Language: English
- Type: text , Article
- Identifier: vital:6819 , http://hdl.handle.net/10962/d1004425
- Description: The gauge-gravity duality can be used to relate connected multipoint graviton functions to connected multipoint correlation functions of the stress tensor of a strongly coupled fluid. Here, we show how to construct the connected graviton functions for a particular kinematic regime that is ideal for discriminating between different gravitational theories, in particular between Einstein theory and its leading-order string theory correction. Our analysis begins with the one-particle irreducible graviton amplitudes in an anti-de Sitter black brane background.We show how these can be used to calculate the connected graviton functions and demonstrate that the two types of amplitudes agree in some cases. It is then asserted on physical grounds that this agreement persists in all cases for both Einstein gravity and its leading-order correction. This outcome implies that the corresponding field-theory correlation functions can be read off directly from the bulk Lagrangian, just as can be done for the ratio of the shear viscosity to the entropy density.
- Full Text:
- Date Issued: 2013
Title not specified
- Kruger, Jaco (Recorded by), Performer not specified, Composer not specified
- Authors: Kruger, Jaco (Recorded by) , Performer not specified , Composer not specified
- Subjects: Guitar , Jazz , Bass , Instrumental
- Type: Music , Sound
- Identifier: vital:15854 , JKC16b-17 , http://hdl.handle.net/10962/d1009043 , Tape number: JKC16 , Original tape number: 16 , Track number: 17
- Description: Jazz guitar
- Full Text: false
- Authors: Kruger, Jaco (Recorded by) , Performer not specified , Composer not specified
- Subjects: Guitar , Jazz , Bass , Instrumental
- Type: Music , Sound
- Identifier: vital:15854 , JKC16b-17 , http://hdl.handle.net/10962/d1009043 , Tape number: JKC16 , Original tape number: 16 , Track number: 17
- Description: Jazz guitar
- Full Text: false
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
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
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
A quantitative investigation of the absorption of certain cations by whole plants and plant tissues
- Cresswell, Christopher Frederick
- Authors: Cresswell, Christopher Frederick
- Date: 1959 , 2014-07-24
- Subjects: Cations -- Absorption and adsorption , Plant tissues
- Language: English
- Type: Thesis , Masters , MSc
- Identifier: vital:4262 , http://hdl.handle.net/10962/d1013335
- Description: Introduction: Part 1. Greenhouse studies were conducted to investigate the absorption of sodium, potassium, calcium and magnesium by lemon seedlings. The plants were grown in controlled nutrient solutions and analysis of the plant material was made to determine the relationship between the four cations in the different plant organs. Results of the experiment may be summarized as follows:- The occurrence of leaf burn appeared to be associated with a low calcium content, together with a high sodium, potassium or sodium + potassium content. The development of the seedlings was shown to be markedly influenced by the level of calcium supply and to a much lesser degree by the level of potassium supplied. The concentration of sodium, potassium, calcium and magnesium in the stem and leaf varied with position of the tissues on the main axis. The level of sodium was found to influence the distribution of sodium in the leaves, and the sodium content of the leaf, stem and root tissues gave a good reflection of the level of sodium supplied. The effect of the sodium treatment on the uptake of potassium appeared to be dependent on the calcium content of the tissues. Sodium treatment was found not to affect the leaf calcium content. In the stem and root tissues the calcium content was reduced when the calcium level in the nutrient medium was low, and increased the calcium content of these two tissues at the higher level of calcium supply. The sodium supply was shown to reduce the leaf magnesium only slightly, and its affect on the magnesium content of the stem and root tissues was shown to be dependent on the level of calcium supplied. The potassium content of the leaves, stems and roots increased when the supply of potassium was raised. Increasing the potassium level in the nutrient supply was found to cause a very slight reduction in the sodium content of the leaf, but did not affect the sodium content of the stem and root. Potassium did not affect the calcium content of the leaves and increased the stem calcium when sodium was not present in the nutrient media in high concentrations. In the roots potassium only increase the calcium content at the upper level of calcium supply. The magnesium content of the leaf and stem tissues was reduced as the potassium supply was increased. In the roots the general trend was for the magnesium content to increase when the level of potassium treatment was raised. The calcium content of all the plant parts increased with a rise in the calcium supply, the stem and root tissues having a greater percentage increase than the leaves. The sodium content of the plant tissue was reduced as the level of calcium supply was raised. The leaf potassium content decreased with a higher calcium level of supply. In the stem and roots the potassium content was increased by doubling the calcium supply. The calcium treatment had no influence on the magnesium content of the foliage, but in the stem and root tissues a decrease in magnesium content resulted from an increase in the calcium supply. Part II Potato tuber tissue and carrot root tissue were used as experimental material in the investigation of sodium9 potassium9 and calcium uptake by storage tissue. It was shown that when the tissue disks are transferred from distilled water to a solution of salts there is a rapid initial uptake of cation which is neither particularly selective, nor related to metabolism, but dependent on the external concentration. On the other hand, the prolonged active accumulation of cation exhibits selectivity. Potassium absorption by potato tuber tissue was shown to be stimulated by sodium9 whereas the potassium and calcium absorption by carrot root tissue was shown to be reduced by sodium. Similarly the sodium absorption by the carrot root tissue was reduced by potassium, thus suggesting that the cations compete with one another for the same absorption mechanism.
- Full Text:
- Date Issued: 1959
- Authors: Cresswell, Christopher Frederick
- Date: 1959 , 2014-07-24
- Subjects: Cations -- Absorption and adsorption , Plant tissues
- Language: English
- Type: Thesis , Masters , MSc
- Identifier: vital:4262 , http://hdl.handle.net/10962/d1013335
- Description: Introduction: Part 1. Greenhouse studies were conducted to investigate the absorption of sodium, potassium, calcium and magnesium by lemon seedlings. The plants were grown in controlled nutrient solutions and analysis of the plant material was made to determine the relationship between the four cations in the different plant organs. Results of the experiment may be summarized as follows:- The occurrence of leaf burn appeared to be associated with a low calcium content, together with a high sodium, potassium or sodium + potassium content. The development of the seedlings was shown to be markedly influenced by the level of calcium supply and to a much lesser degree by the level of potassium supplied. The concentration of sodium, potassium, calcium and magnesium in the stem and leaf varied with position of the tissues on the main axis. The level of sodium was found to influence the distribution of sodium in the leaves, and the sodium content of the leaf, stem and root tissues gave a good reflection of the level of sodium supplied. The effect of the sodium treatment on the uptake of potassium appeared to be dependent on the calcium content of the tissues. Sodium treatment was found not to affect the leaf calcium content. In the stem and root tissues the calcium content was reduced when the calcium level in the nutrient medium was low, and increased the calcium content of these two tissues at the higher level of calcium supply. The sodium supply was shown to reduce the leaf magnesium only slightly, and its affect on the magnesium content of the stem and root tissues was shown to be dependent on the level of calcium supplied. The potassium content of the leaves, stems and roots increased when the supply of potassium was raised. Increasing the potassium level in the nutrient supply was found to cause a very slight reduction in the sodium content of the leaf, but did not affect the sodium content of the stem and root. Potassium did not affect the calcium content of the leaves and increased the stem calcium when sodium was not present in the nutrient media in high concentrations. In the roots potassium only increase the calcium content at the upper level of calcium supply. The magnesium content of the leaf and stem tissues was reduced as the potassium supply was increased. In the roots the general trend was for the magnesium content to increase when the level of potassium treatment was raised. The calcium content of all the plant parts increased with a rise in the calcium supply, the stem and root tissues having a greater percentage increase than the leaves. The sodium content of the plant tissue was reduced as the level of calcium supply was raised. The leaf potassium content decreased with a higher calcium level of supply. In the stem and roots the potassium content was increased by doubling the calcium supply. The calcium treatment had no influence on the magnesium content of the foliage, but in the stem and root tissues a decrease in magnesium content resulted from an increase in the calcium supply. Part II Potato tuber tissue and carrot root tissue were used as experimental material in the investigation of sodium9 potassium9 and calcium uptake by storage tissue. It was shown that when the tissue disks are transferred from distilled water to a solution of salts there is a rapid initial uptake of cation which is neither particularly selective, nor related to metabolism, but dependent on the external concentration. On the other hand, the prolonged active accumulation of cation exhibits selectivity. Potassium absorption by potato tuber tissue was shown to be stimulated by sodium9 whereas the potassium and calcium absorption by carrot root tissue was shown to be reduced by sodium. Similarly the sodium absorption by the carrot root tissue was reduced by potassium, thus suggesting that the cations compete with one another for the same absorption mechanism.
- Full Text:
- Date Issued: 1959
The design of a performing Arts Centre at Makana’s Kop, in Makhanda
- Authors: Zitumane, Siphosethu Asanda
- Date: 2021-12
- Subjects: Centers for the performing arts -- South Africa -- Makhanda , Art centers -- South Africa -- Makhanda -- Designs and plans
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/${Handle} , vital:59921
- Description: Nearly three decades into democracy, the South African landscape is still embed - ded with the ideologies and systems of apartheid. Separateness has come to de - fine its cartography, drawing clear lines between races. To bridge the racial divide and reconstruct the national identity, the South African government adopted the Rainbow Nation as its brand. This branding did little to address the systemic racism ingrained into its society and landscape. This treatise identifies the limits of the rainbow nation, through an investigation of the intersections between memory, identity, and place. It identifies the imbalance in the expression of certain narratives as barrier in the progression of South Africa’s nation building initiative. Attempting to find a resolution, it offers the design of a performing arts center on Makana’s Kop, Makhanda as a starting point. This archi - tectural endeavor aims to express the oppressed narratives and memories of the Makhandan community. Through exploring how these issues play out in Makhanda, Makana’s Kop is iden - tified as an appropriate site for the architectural manifestation of this treatise. The significance of the site, and its relationship with other monumental structures in this city make it a suitable place for the design of a building of this nature. The inves - tigation is led to examine the architectural and theoretical principles that will ad - opted to aid in making this a successful architectural resolution to the issues iden - tified; which are firstly the need for an architecture to symbolize democracy and the new South African Identity and secondly the need for a container for culture and art for the Makana’s Kop community. The treatise, and thus the the endeavor, is concluded with a presentation and analysis of the final architectural product and the design and technical strategies that were implemented. , Thesis (MArch (Professional) -- Faculty of Engineering, the Built Environment and Technology ,School of Architecture 2022
- Full Text:
- Date Issued: 2021-12
- Authors: Zitumane, Siphosethu Asanda
- Date: 2021-12
- Subjects: Centers for the performing arts -- South Africa -- Makhanda , Art centers -- South Africa -- Makhanda -- Designs and plans
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/${Handle} , vital:59921
- Description: Nearly three decades into democracy, the South African landscape is still embed - ded with the ideologies and systems of apartheid. Separateness has come to de - fine its cartography, drawing clear lines between races. To bridge the racial divide and reconstruct the national identity, the South African government adopted the Rainbow Nation as its brand. This branding did little to address the systemic racism ingrained into its society and landscape. This treatise identifies the limits of the rainbow nation, through an investigation of the intersections between memory, identity, and place. It identifies the imbalance in the expression of certain narratives as barrier in the progression of South Africa’s nation building initiative. Attempting to find a resolution, it offers the design of a performing arts center on Makana’s Kop, Makhanda as a starting point. This archi - tectural endeavor aims to express the oppressed narratives and memories of the Makhandan community. Through exploring how these issues play out in Makhanda, Makana’s Kop is iden - tified as an appropriate site for the architectural manifestation of this treatise. The significance of the site, and its relationship with other monumental structures in this city make it a suitable place for the design of a building of this nature. The inves - tigation is led to examine the architectural and theoretical principles that will ad - opted to aid in making this a successful architectural resolution to the issues iden - tified; which are firstly the need for an architecture to symbolize democracy and the new South African Identity and secondly the need for a container for culture and art for the Makana’s Kop community. The treatise, and thus the the endeavor, is concluded with a presentation and analysis of the final architectural product and the design and technical strategies that were implemented. , Thesis (MArch (Professional) -- Faculty of Engineering, the Built Environment and Technology ,School of Architecture 2022
- Full Text:
- Date Issued: 2021-12