Sodia
- Authors: Amadou Sodia (lead singer, bolon, kora) , Hadja Maningbe, Djanka Diabate, Awa Maiga, Valerie Belinga (chorus) , Ansoumane Kante, Yeye (percussions) , Adame Conde (balafon) , Alpha Camara (congas) , Ousmane Kouyate, Djely Moussa Kouyate,Manfila Kante (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/10962/128604 , vital:36127 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC13-01
- Description: Fusion between traditional Guinean song structures and instruments and western instruments and influence
- Full Text: false
- Date Issued: 1999
Oui ou non
- 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
Matayi
- 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 (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/10962/128690 , vital:36139 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC13-11
- Description: Fusion between traditional Guinean song structures and instruments and western instruments and influence
- Full Text: false
- Date Issued: 1999
Tibilila
- 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 (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/10962/128668 , vital:36137 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC13-09
- Description: Fusion between traditional Guinean song structures and instruments and western instruments and influence
- Full Text: false
- Date Issued: 1999
Tamayi
- Authors: Amadou Sodia (lead singer, bolon, kora) , Hadja Maningbe, Djanka Diabate, Awa Maiga, Valerie Belinga (chorus) , Ansoumane Kante, Yeye (percussions) , Adame Conde (balafon) , Alpha Camara (congas) , Ousmane Kouyate, Djely Moussa Kouyate,Manfila Kante (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/10962/128649 , vital:36134 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC13-06
- Description: Fusion between traditional Guinean song structures and instruments and western instruments and influence
- Full Text: false
- Date Issued: 1999
Fidi
- Authors: Amadou Sodia (lead singer, bolon, kora) , Hadja Maningbe, Djanka Diabate, Awa Maiga, Valerie Belinga (chorus) , Ansoumane Kante, Yeye (percussions) , Adama Drame (guitar solo) , Alpha Camara (congas) , Ousmane Kouyate, Djely Moussa Kouyate,Manfila Kante (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/10962/128632 , vital:36132 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC13-05
- Description: Fusion between traditional Guinean song structures and instruments and western instruments and influence
- Full Text: false
- Date Issued: 1999
Afo Pardon
- Authors: Amadou Sodia (lead singer, bolon, kora) , Hadja Maningbe, Djanka Diabate, Awa Maiga, Valerie Belinga (chorus) , Ansoumane Kante, Yeye (percussions) , Adame Conde (balafon) , Alpha Camara (congas) , Ousmane Kouyate, Djely Moussa Kouyate,Manfila Kante (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/10962/128622 , vital:36130 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC13-03
- Description: Fusion between traditional Guinean song structures and instruments and western instruments and influence
- Full Text: false
- Date Issued: 1999
Gnewagne
- 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 (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/10962/128658 , vital:36135 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC13-07
- Description: Fusion between traditional Guinean song structures and instruments and western instruments and influence
- Full Text: false
- Date Issued: 1999
Ousmane
- 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 (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/10962/128685 , vital:36138 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC13-10
- Description: Fusion between traditional Guinean song structures and instruments and western instruments and influence
- Full Text: false
- Date Issued: 1999
Amoussoussa
- Authors: Amadou Sodia (lead singer, bolon, kora) , Hadja Maningbe, Djanka Diabate, Awa Maiga, Valerie Belinga (chorus) , Ansoumane Kante, Yeye (percussions) , Adame Conde (balafon) , Alpha Camara (congas) , Ousmane Kouyate, Djely Moussa Kouyate, Manfila Kante, Patrick Mareck (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/10962/128613 , vital:36129 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC13-02
- Description: Fusion between traditional Guinean song structures and instruments and western instruments and influence
- Full Text: false
- Date Issued: 1999
Toma Sero
- Authors: Amadou Sodia (lead singer, bolon, kora) , Hadja Maningbe, Djanka Diabate, Awa Maiga, Valerie Belinga (chorus) , Ansoumane Kante, Yeye (percussions) , Adama Drame (guitar solo) , Alpha Camara (congas) , Ousmane Kouyate, Djely Moussa Kouyate,Manfila Kante (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/10962/128627 , vital:36131 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC13-04
- Description: Fusion between traditional Guinean song structures and instruments and western instruments and influence
- Full Text: false
- Date Issued: 1999
Composition portfolio
- Authors: Cooper, Corinne Jane
- Date: 2019
- Subjects: Xhosa (African people) -- Music , Musical bow -- South Africa -- Eastern Cape , Sound recordings in ethnomusicology -- South Africa , Dywili, Nofinishi. The bow project , Music -- South Africa -- Eastern Cape
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/168338 , vital:41568
- Description: In June 2014, I was introduced to Christine Dixie by a film maker I had worked with on a previous project. Christine was looking for a composer who could arrange a soundtrack around musical themes that she had commissioned from Jared Lang to accompany her video installation To Be King (Dixie 2014. Jared composed five different melodies that I wove into a palette of sounds that comprised the soundtrack. To Be King was exhibited at the National Arts Festival in 2014 as part of the Main Festival. It moved to Cape Town in 2015 and 2017, to Venice and London in 2017, and to Lithuania in 2018. In 2017, Christine approached me to compose a soundtrack for a different work, based again on seventeenth century Spanish artist, Velázquez’ painting ‘Las Meninas’ (1656), but this time, using a series of sculptures representing the different figures in the painting, a reinterpretation with strong Eastern Cape (South Africa) themes and associations. Christine proposed reimagining the figures in the painting by clothing them in Shweshwe 1 material and placing African masks on each of them, masks that she had sought out during her travels around Africa. The use of Shweshwe material, ties the figures very closely to the Eastern Cape, and in particular, close to where I grew up in Alice, just 60 kilometres away from where it is manufactured in King William’s Town. Alice is important in the unfolding of this portfolio as Ntsikana, purportedly the first Xhosa person to be converted to Christianity and a prophet, lived in Peddie (which is about 70 kilometers from Grahamstown and Rhodes University) and Gqora, near the Kat River District which is located in the Amathola District near Alice. (Kumalo 2015, p.26). Alice is steeped in history, and is the town where Lovedale Mission Station was founded in 1824 and later, the Lovedale Press in 1861. Therefore, this project felt close to my roots, hence this interaction between Western and African cultures is very relevant to my world view and has impacted on my scoring of this music. I was initially challenged by the idea that the project would require a deeper understanding of traditional Xhosa music and while I had been exposed to Xhosa culture while growing up in Alice, my formative years were largely shaped by the culture of my Christian parents who immigrated to South Africa from England during the 1960s. During the first decade of the twentieth century, in my capacity as a sound engineer, I was tasked with recording and mastering a double CD called The Bow Project. Various South African composers were invited to transcribe and paraphrase or reimagine traditional Xhosa bow music for the classical string quartet. The uhadi songs 2 of Nofinishi Dywili formed the basis for many of these intercultural explorations, and I recorded and mastered the string quartets as well as 12 individual recordings of Dywili’s music. I spent many hours listening to Dywili’s recordings while I mastered them, but though I was very familiar with how they sounded, I realised, as I started compiling this portfolio, that I was not familiar with their notation and rhythmic structures. I approach sound engineering with a very different ear and sonic perspective to that of a composer. To learn more about uhadi bow music I visited the International Library of African Music (ILAM) which is housed by Rhodes University in Grahamstown, Eastern Cape. Here I consulted with sound engineer and African music specialist, Elijah Madiba, on Xhosa instruments and traditional music-making. With Madiba’s assistance I listened carefully to different bow performances and examined a variety of instruments. After this introduction I loaned a selection of recordings from the ILAM collection and listened to them as carefully as I could. Every time I listened, I seemed to hear something different, both melodically and rhythmically. To gain a deeper understanding of how this music was created I decided to transcribe some of the songs. Following a steep learning curve I completed transcriptions of two songs with my transcriptions including a wealth of vocal parts. As my ears grew accustomed to the sound world I heard additional counter melodies. Notating the rhythms using staff notation was challenging, as this music is created according to a different format, but I am familiar with staff notation and if I was going to use this material while composing then I needed to remain with that which was familiar. I finally settled on notating with shifting time signatures and the first song is scored in bars of 3/4, 4/4, and 2/4 while the other song uses 3/4, 2/4. It was a very worthwhile exercise and after completion I humbly set about composing the eleven pieces that would musically express Dixie’s new work: Worlding the White Spirit Maiden (2019).
- Full Text:
- Date Issued: 2019
Mancipera
- Authors: Rokia Traore (author, composer, arranger, interpreter, lead singer, guitar) , Coco Mbassi, Rokia Traore (chorus) , Noel Ekwabi (bass) , Louis Winsberg (guitar) , Toumani Diabate (kora) , Mamah Diabate (N'Goni) , Sidiki Camara (percussion) , Label Bleu
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Mali Bamako f-ml
- Language: Bambara
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/131094 , vital:36523 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC49-07
- Description: Non-Malian vocal style and multilayered singing accompanied by traditional Malian instuments played with a modern edge
- Full Text: false
- Date Issued: 2000
The Stockenström judgment, the Warren report and the Griqualand West rebellion, 1876-8
- Authors: White, Anthony Nevins
- Date: 1978
- Subjects: Warren, Charles, Sir, 1840-1927 , Griqualand West -- History , Land tenure -- Griqualand West , Griqua Rising, 1878 , Griqua (African people) -- History , Tlharo (African people) -- History , Tlhaping (African people) -- History , Baga-maidi (African people) -- History , Stockenström, Andries, 1844-1880 , Genealogy , Korana (African people) -- History
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2591 , http://hdl.handle.net/10962/d1007239 , Warren, Charles, Sir, 1840-1927 , Griqualand West -- History , Land tenure -- Griqualand West , Griqua Rising, 1878 , Griqua (African people) -- History , Tlharo (African people) -- History , Tlhaping (African people) -- History , Baga-maidi (African people) -- History , Stockenström, Andries, 1844-1880 , Genealogy , Korana (African people) -- History
- Description: From Preface: South African frontiers periodically provided the backdrop for conflict between Blacks and Whites over land, and, in this respect, Griqualand West proved no exception. The arrival of the trekboers in the 1830s heralded the beginning of the land problem in Griqualand West, and the situation worsened with the discovery of diamonds and the subsequent influx of land-hungry Whites. By the 1870s the stage was then set for a major clash between Blacks and Whites with land as the central focus. The Griqualand West Administration tried to rectify this situation in 1875 by setting up a Land Court under Judge Andries Stockenström. Stockenström's judgment was highly controversial, as many Griqua and Blacks lost land, although no land which had been claimed by a Griqua or Black was granted to a White. As Stockenström had not resolved the land problem, the Griqualand West authorities brought in Captain Charles Warren to settle the matter of land ownership in the Province. The Warren Report was considered by all concerned to be fair, but it did not prevent the outbreak of hostilities in 1878. The two main foci of this study are, then, land ownership and the Rebellion and the link, if any, between them. The main sources for the work have been the Griqualand West archive in the Cape Archives, for the period 1872-1880, and various newspapers. The Cape and Imperial Blue Books were useful sources, especially on the military history of the rebellion. Interviews conducted in Bophuthatswana and Griqualand West clarified many obscure points and raised others, most of which have been answered in this work. A considerable number of contemporary published works were also consulted, but, although most mentioned the land problem and the Rebellion, few contained anything worthy of mention, especially with regard to the military history of the Rebellion. , KMBT_363 , Adobe Acrobat 9.54 Paper Capture Plug-in
- Full Text:
- Date Issued: 1978
Sako Beke
- Authors: Rokia Traore (author, composer, arranger, interpreter, lead singer, guitar) , Toumani Diabate (kora) , Label Bleu
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cameroon Yaounde f-cm
- Language: Bambara
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/131065 , vital:36521 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC49-06
- Description: Non-Malian vocal style and multilayered singing accompanied by traditional Malian instuments played with a modern edge
- Full Text: false
- Date Issued: 2000
N'gotolen
- Authors: Rokia Traore (author, composer, arranger, interpreter, lead singer) , Adama Diarra (balafon) , Toumani Diabate (kora) , Andra Kouyate (N'Goni) , Mamah Diabate (N'Goni Ba) , Label Bleu
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Mali Bamako f-ml
- Language: Bambara
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/131145 , vital:36528 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC49-11
- Description: Non-Malian vocal style and multilayered singing accompanied by traditional Malian instuments played with a modern edge
- Full Text: false
- Date Issued: 2000
Fungal remediation of winery and distillery wastewaters using Trametes pubescens MB 89 and the enhanced production of a high-value enzyme therein
- Authors: Strong, Peter James
- Date: 2008
- Subjects: Fungal remediation Distilleries -- Waste disposal Wine and wine making -- Waste disposal Bioremediation Laccase Enzymes -- Biotechnology
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3932 , http://hdl.handle.net/10962/d1003991
- Description: In this study white-rot fungi were investigated for their efficiency at distillery wastewater remediation and the production of laccase as a valuable by-product. Distillery wastewaters are high in organic load and low in pH. The presence of phenolic compounds can lead to extremely colour-rich wastewaters and can be toxic to microorganisms. The presence of the inorganic ions may also affect biological treatment. White-rot fungi are unique among eukaryotic or prokaryotic microbes in possessing powerful oxidative enzyme systems that can degrade lignin to carbon dioxide. These ligninolytic enzymes, such as lignin peroxidase, manganese peroxidase and laccase, are capable of degrading a vast range of toxic, recalcitrant environmental pollutants and this makes the white-rot fungi strong candidates for the bioremediation of polluted soils and waters. The laccase enzyme alone has shown remediation potential in wastewaters such as beer production effluent, olive mill wastewater, alcohol distillery wastes, dye-containing wastewaters from the textile industry as well as wastewaters from the paper and pulp industry. It has been shown to be capable of remediating soils and waters polluted with chlorinated phenolic compounds, polyaromatic hydrocarbons, nitrosubstituted compounds and fungicides, herbicides and insecticides.
- Full Text:
- Date Issued: 2008
The development of biological tools to aid in the genetic investigation of the black (Diceros bicornis) and white (Ceratotherium simum) rhinoceros mitochondrial genomes
- Authors: Parsons, Michelle
- Date: 2015
- Language: English
- Type: text , Thesis , Masters , MSc
- Identifier: http://hdl.handle.net/10962/56059 , vital:26769
- Description: The black (Diceros bicornis) and white (Ceratotherium simum) rhinoceros are found in South Africa. A decline in the populations of these species has resulted due to human activities such as habitat fragmentation and poaching. This has contributed to the loss of genetic diversity amongst the black and white rhinoceros. Conservation and anti-poaching efforts are needed to help maintain genetic diversity. These efforts could be improved through the development of non-invasive techniques to examine DNA from threatened animals. The aim of this research was to develop a molecular technique which would allow for the identification of the black and white rhinoceros and to develop a molecular technique which would allow for intraspecies genetic variation to be examined. DNA extractions were performed on matched faecal and tissue samples that were collected from two regions in South Africa. Polymerase chain reaction (PCR) primer sets were designed to investigate several regions of the rhinoceros mitochondrial genome. PCR optimisation was completed for the target regions. Sequencing was conducted on all final PCR products. The cytochrome c oxidase subunit 1 (COIi) gene allowed for the rhinoceros family to be identified. This region was digested with the HindIII restriction enzyme, which allowed for the specific identification of either the black or white rhinoceros. A subsequent region of the cytochrome c oxidase subunit 1 (COIii) as well as the D-loop, hypervariable regions (HV1 and HV2), cytochrome b (cytb) and 16s rRNA regions were investigated. These regions displayed potential for establishing geographic origin for black rhinoceros samples, whereas the D-loop and HV2 show potential for the white rhinoceros. The white rhinoceros displayed sequence variation in the HV2 and cytb region, while variation was observed in the COIi and HV1 for the black rhinoceros. All investigated target regions allowed for the rhinoceros family to be identified. The COI (COIi and COIii), HV2 and cytb regions allowed for the subspecies of rhinoceros to be identified, however the D-loop was not able to identify the white rhinoceros species. The 16s rRNA and HV1 regions allowed for the correct subspecies of rhinoceros to be identified, however as the primers were only compatible for the black rhinoceros therefore a subsequent investigation is required for the white rhinoceros. The establishment of this novel PCR based technique to identify white and black rhinoceros will allow for efficient species identification in wildlife forensic cases. A biological method was established to study intraspecies variation for the white and black rhinoceros; however the investigated target regions did not yield sufficient genetic variation. The core techniques developed in this study will be valuable for future studies that wish to investigate genetic variation in mammal species.
- Full Text:
- Date Issued: 2015
Kolondji
- Authors: Adama Drame (performer, arranger, composer, djembe, tama, doumdoum, chekere, voice, harmonica) , Yacouba Kone (djembe) , Bakari Doumbia (zin-zin) , Mamadou Diabate ( balafon) , Djesou Mory Kante (accoustic and electric guitar) , Adjara Cisse (lead vocal) , Oulare, Mariame Sylla, Tagaly (chorus) , Adama Troare (accoustic guitar) , Augustin Lompo (bass) , Bassirou Sanou (flute) , Tinminu Adio (tama) , Brass: Andre Laourou, Dadie, Franck Desamin , Dramane Kienou (djembe accompaniment) , Lamine Soumano (kora) , Seydoni Production B.F.
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Burkina Faso Ouagadougou f-uv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128744 , vital:36148 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC14-05
- Description: Music from Burkino Faso played and sung in the griot style commenting on historical and contemporary events
- Full Text: false
- Date Issued: 2000
Haul Music : transnationalism and musical performance in the Saharaui refugee camps of Tindouf, Algeria
- Authors: Gimenez Amoros, Luis
- Date: 2012
- Subjects: Bedouins -- Music -- Research Sahrawi (African people) -- Migrations Social change -- Arab countries Arab countries -- Social life and customs Civilization, Arab
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2637 , http://hdl.handle.net/10962/d1002302
- Description: The thesis presents ethnographic data and musical analysis (in the form of transcriptions) of Haul music which is the music style performed by Bedouin societies in Trab el Bidan region (Mauritania, Western Sahara, northern Mali, southern Algeria and northern Morocco). It is based on field research undertaken in Algeria in 2004-05 in the refugee camps of Tindouf, Algeria, where Saharaui people (a Bedouin society)live in exile. This research is unique and original as Haul has not, until now, been explored in depth by any scholar. My research on Haul reveals that the changes in Saharaui music in the refugee camps of Tindouf reflect changes in the musical traditions of Bedouin societies as whole; changes that can be traced to the revolution which occurred in Western Sahara in 1975, and changes that are a result of the migrations and life in exile that followed. I argue that these changes occurred due to the transnational experiences undergone by Saharaui people in their forced exile (caused by the Moroccan state) from their homeland in Western Sahara to Algeria. Further, I assert that the invocation of memory in Bedouin musical styles is evidence of past musical practices being retained in contemporary Haul performance, although other musical changes are similarly in progress.
- Full Text:
- Date Issued: 2012