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A study on white leather tannage

  • Authors: Williams-Wynn, D A
  • Date: 1950
  • Subjects: Uncatalogued
  • Language: English
  • Type: Diploma theses , text
  • Identifier: http://hdl.handle.net/10962/193713 , vital:45389
  • Description: As has been noted in the previous section little or no complex formation occurs with either formate or acetate except possibly above pH 9*0 or so. These anions do not stabilise the aluminium solutions to precipitation - they may* however, be of value in controlling pH, as solutions of these salts buffer strongly in the region pH 4 to 5. The other salts, lactate, tartrate and citrate all show tendencies to complex formation though the degree to which this occurs varies with the anion. The complexes formed by lactate at high pH must be very unstable because on the addition of acid the pH corresponds to the calculated blank. Below pH 9.0 however, the curves deviate quite considerably showing that more acid must be added to reach a certain pH value than is required by the blank. This means complex formation has occurred with loss of -COGH groups. In this system too, buffering is apparent. The same is true of tartrate but this salt is not as efficient a buffering agent. This is probably due to the fact that the excess tartrate is not available as a buffer as it is precipitated as the acid salt which is only sparingly soluble. Citrate on the other hand must form very stable complexes, the effect of which is apparent at even very high pH values. In other words, addition of strong acid liberates free -GOGH groups which are immediately incorporated in the complex. This evidently does not occur with lactate or tartrate until lower pH values are reached. The ratio of lactate and citrate to aluminium appears to have some influence on the degree of masking as greater complex formation is found to occur at the higher ratio levels. Tartrate on the other hand apparently has a fixed complex forming capacity between 1 and 4 mols/mol aluminium, since the same deviation from the blank was observed irrespective of which ratio of the masking agent to aluminium, was employed. However, at ratios of less than 1 mol tartrate/mol aluminium, deviations from the blank were reduced and less stabilisation occurs as evidenced by the formation of precipitates containing aluminium under these conditions. In view of these facts it may be suggested that 1 mol tartrate combines with 1 mol aluminium to form a complex containing equimolar proportions of aluminium and tartrate. The effect of boiling apart from one or two exceptions always has the same effect, i.e. a shift to the acid side of the curve. Free acid must have been liberated which is an indication that olation might have occurred. In the lactate and citrate series dilution appears to reduce the complex forming capacity of these ions but tartrate is unaffected. Thus it would appear that the tartrate complex is more stable than those formed by lactate. Citrate stabilises aluminium solutions with fewer equivalents than tartrate, but the complex does not contain a constant ratio of masking agent to aluminium further quantities of tartrate cannot enter the complex even in the presence of large excess of the anion probably due to the effect of steric hindrance. , Thesis (Dip) -- Leather Industries Research Institute, 1950
  • Full Text:
  • Date Issued: 1950

A Tembo

A Tembo

A Yotamu amati andimange

A Yotamu amati andimange

Aba Mukama

  • Authors: Ernest Kibuka with Haya men , Hugh Tracey
  • Date: 1950
  • Subjects: Music--Uganda , Haya (African people) , Nyoro (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania / Uganda Bibanja / Bukoba f-tz / f-ug
  • Language: Nyoro , Haya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/172289 , vital:42184 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR145-08
  • Description: The laced drum is called Ngoma, the general name of any drum. It only receives a special name when it is part of a set of drums such as the Enkoito set. David Rugomola is said by his men to be the best chief in the whole Bibanja area and the people like him very much. He is a tall man with finely drawn features common to many aristocratic Hima people who rule over several lesser tribes in this part of East Africa. Praise song, with conical laced drum, beaten with sticks, and clapping (-12.03-).
  • Full Text: false
  • Date Issued: 1950

Aba Mukama

Aba Mukama

Aba Seveni abada

  • Authors: Zakaria Kasasa, 'Endongo za Baganda'. , Hugh Tracey
  • Date: 1950
  • Subjects: Music--Uganda , Folk songs, Ganda , Ganda (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Kampala f-ug
  • Language: Ganda
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/170475 , vital:41926 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0136-10
  • Description: "The 'Aba Seveni', the soilders of the 7th King's African Rifles, are back from the war, but they have no money left. The ones who stayed are better off than the soilders." A story with a familiar aftermath theme. Topical song, with Endongo bowl lyre with 8 strings, Ndingidi one string bowed lute, and one Ntenga conical drum, laced, single.
  • Full Text: false
  • Date Issued: 1950

Aba Seveni abada

Abagenyi baizere

Abagenyi Baizire

Abagenyi baizire

  • Authors: Stephen Kaholya and Nyoro men , Hugh Tracey
  • Date: 1950
  • Subjects: Music--Uganda , Nyoro (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Hoima f-ug
  • Language: Nyoro
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/169747 , vital:41795 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0132-16
  • Description: "The visitors have arrived", a welcome to the visitors at a party. The Engwara horns are built up of sections of gourds bound together with plantain string and re-inforced longitudinally by lathes of bamboo. The are side blown and have a hole at the small end so as to produce two notes each. They vary in size from about 12 inches to approximately 36 inches. Engwara N'orunyege dance song for men, with Engwara side blown horns, Ebinyege rattles and clapping.
  • Full Text: false
  • Date Issued: 1950

Abagungu

Abagungu

  • Authors: Samuiri Bitadwa and Nyoro men , Hugh Tracey
  • Date: 1950
  • Subjects: Music--Uganda , Nyoro (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Hoima f-ug
  • Language: Nyoro
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/169914 , vital:41838 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0133-17
  • Description: The Bagungu people are fishermen and live near the eastern shore of Lake Albert. They are renowned for their cheerful rhythmic dancing with leg rattles. The water lizard skin membranes of their drums make for high quality drumming and clear finger work. The 'Legevans' or iguana are found near the lake shore, they say. Orunyege dance song for men and women with Ebinyege leg rattles and Goblet drum long stem pegged open.
  • Full Text: false
  • Date Issued: 1950

Abagungu

Abahira tweninde

Abakaikula kitulayeza twena tucome Mlekule

  • Authors: Siluvesitere Ilaliya , Hugh Tracey
  • Date: 1950
  • Subjects: Zinza (African people) , Rundi (African people) , Nyamwezi (African people) , Folk songs, Rundi , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Nyalubungo f-tz
  • Language: Zinza
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/172689 , vital:42271 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR147-04
  • Description: "When we harvest our crops we shall all enjoy dancing the Mlekule." Mlekule is a dance perfromed for the chief at his village. The microphone started beneath the instrument and was moved above when he started singing in order to show the difference of tone between the upper and lower surfaces of the resonator. It is interesting to note that unlike the Likembe Mbira further south, the resonator of this instrument is broader at the top than at the bottom, i.e. the bridge end is the broader. The scale was:- 332, 308, 280, 252, 228, 204, 184, 166 vs. Self delecatative tune, with Marimbe Likembe, box resonated, 18 notes.
  • Full Text: false
  • Date Issued: 1950

Abakaikulu kitulayeza twena tucome Mlekule

Abakankuli Kitulayeza Turena mlekule

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