Apostles Creed
- Church music workshop participants, Suping, T. W., Kataka., Father, Motsamayi., Father, Dargie, Dave
- Authors: Church music workshop participants , Suping, T. W. , Kataka., Father , Motsamayi., Father , Dargie, Dave
- Date: 1978
- Subjects: Folk music , Sacred music , Field recordings , Africa, Sub-Saharan , Africa South Africa Bethlehem sa
- Language: Sesotho
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/337269 , vital:62240 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DDC327b-08
- Description: Church Music Workshop in Sesotho
- Full Text: false
- Date Issued: 1978
- Authors: Church music workshop participants , Suping, T. W. , Kataka., Father , Motsamayi., Father , Dargie, Dave
- Date: 1978
- Subjects: Folk music , Sacred music , Field recordings , Africa, Sub-Saharan , Africa South Africa Bethlehem sa
- Language: Sesotho
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/337269 , vital:62240 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DDC327b-08
- Description: Church Music Workshop in Sesotho
- Full Text: false
- Date Issued: 1978
Apostles Creed
- Music workshop participants, Ntongwa, B., Dargie, Dave
- Authors: Music workshop participants , Ntongwa, B. , Dargie, Dave
- Date: 1978
- Subjects: Folk music , Sacred music , Field recordings , Africa, Sub-Saharan , Africa South Africa Marian Hill sa
- Language: IsiZulu
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/358242 , vital:64836 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DDC043a-20
- Description: Music workshop performance, accompanied by the drum
- Full Text: false
- Date Issued: 1978
- Authors: Music workshop participants , Ntongwa, B. , Dargie, Dave
- Date: 1978
- Subjects: Folk music , Sacred music , Field recordings , Africa, Sub-Saharan , Africa South Africa Marian Hill sa
- Language: IsiZulu
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/358242 , vital:64836 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DDC043a-20
- Description: Music workshop performance, accompanied by the drum
- Full Text: false
- Date Issued: 1978
Apostles Creed
- Church music workshop participants, Suping, T. W., Kataka., Father, Motsamayi., Father, Dargie, Dave
- Authors: Church music workshop participants , Suping, T. W. , Kataka., Father , Motsamayi., Father , Dargie, Dave
- Date: 1978
- Subjects: Folk music , Sacred music , Field recordings , Africa, Sub-Saharan , Africa South Africa Bethlehem sa
- Language: Sesotho
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/337242 , vital:62235 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DDC327b-08
- Description: Church Music Workshop in Sesotho
- Full Text: false
- Date Issued: 1978
- Authors: Church music workshop participants , Suping, T. W. , Kataka., Father , Motsamayi., Father , Dargie, Dave
- Date: 1978
- Subjects: Folk music , Sacred music , Field recordings , Africa, Sub-Saharan , Africa South Africa Bethlehem sa
- Language: Sesotho
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/337242 , vital:62235 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DDC327b-08
- Description: Church Music Workshop in Sesotho
- Full Text: false
- Date Issued: 1978
Apostle's Creed from the Missa Zimbabwe transcribed into Venda
- Church Choir, Composer not specified, Dargie, Dave
- Authors: Church Choir , Composer not specified , Dargie, Dave
- Date: 1980
- Subjects: Folk music , Sacred music , Field recordings , Africa, Sub-Saharan , Africa South Africa Thohoyandou sa
- Language: Venda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/381379 , vital:67556 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DDC080a-05
- Description: Unaccompanied Missa Zimbabwe song transcribed into Venda.
- Full Text: false
- Date Issued: 1980
- Authors: Church Choir , Composer not specified , Dargie, Dave
- Date: 1980
- Subjects: Folk music , Sacred music , Field recordings , Africa, Sub-Saharan , Africa South Africa Thohoyandou sa
- Language: Venda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/381379 , vital:67556 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DDC080a-05
- Description: Unaccompanied Missa Zimbabwe song transcribed into Venda.
- Full Text: false
- Date Issued: 1980
Apostle's Creed
- Church choir, Composer not specified, Dargie, Dave
- Authors: Church choir , Composer not specified , Dargie, Dave
- Date: 1980
- Subjects: Folk music , Sacred music , Field recordings , Africa, Sub-Saharan , Africa South Africa Loius Trichardt sa
- Language: Venda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/383267 , vital:67762 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DDC085b-01
- Description: Missa Zimbabwe hymn performed in Venda, with clapping.
- Full Text: false
- Date Issued: 1980
- Authors: Church choir , Composer not specified , Dargie, Dave
- Date: 1980
- Subjects: Folk music , Sacred music , Field recordings , Africa, Sub-Saharan , Africa South Africa Loius Trichardt sa
- Language: Venda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/383267 , vital:67762 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DDC085b-01
- Description: Missa Zimbabwe hymn performed in Venda, with clapping.
- Full Text: false
- Date Issued: 1980
Aporias of Rock Art interpretation: advancing a phenomenological reading
- Authors: Horwitz, Nomvuyo
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145609 , vital:38451 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00342
- Description: A porias—from the Greek a + poros (“without” + “passage”)—are defined by Jacques Derrida (1993) as philosophical expressions of doubt and confusion; they are irresolvable logical disjunctions in a given line of enquiry. Stuart Murray (2009:11) describes aporias as being constituted by “an intrinsic undecidability … a contradiction, a puzzle or a paradox.” In this article, I argue that academic interpretation of San rock art has been marked by certain aporias—moments of inherent, irresolvable confusion or doubt—because of the methodological tendencies that contemporary researchers have employed. By viewing the interpretation of San paintings as a detective-like “deciphering”—that is, as a journey that must end at the “arrival” of a static meaning— researchers have created pockets of contradictions: San rock art paintings are part of a process of perceptual meaning-making through aesthetic expression, not merely clues for deciphering a simplified “bygone” past. In this view, I advance a phenomenological approach to interpreting these paintings.
- Full Text:
- Date Issued: 2017
- Authors: Horwitz, Nomvuyo
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145609 , vital:38451 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00342
- Description: A porias—from the Greek a + poros (“without” + “passage”)—are defined by Jacques Derrida (1993) as philosophical expressions of doubt and confusion; they are irresolvable logical disjunctions in a given line of enquiry. Stuart Murray (2009:11) describes aporias as being constituted by “an intrinsic undecidability … a contradiction, a puzzle or a paradox.” In this article, I argue that academic interpretation of San rock art has been marked by certain aporias—moments of inherent, irresolvable confusion or doubt—because of the methodological tendencies that contemporary researchers have employed. By viewing the interpretation of San paintings as a detective-like “deciphering”—that is, as a journey that must end at the “arrival” of a static meaning— researchers have created pockets of contradictions: San rock art paintings are part of a process of perceptual meaning-making through aesthetic expression, not merely clues for deciphering a simplified “bygone” past. In this view, I advance a phenomenological approach to interpreting these paintings.
- Full Text:
- Date Issued: 2017
Apongozi ngao cimwana cao nacileka
- Ziyelesa Mwale, performer not specified, Composer not specified, Tracey, Hugh
- Authors: Ziyelesa Mwale , performer not specified , Composer not specified , Tracey, Hugh
- Date: 1949
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zambia Lusaka f-za
- Language: Nsega
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/379594 , vital:67361 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , AC0541-C4T5a
- Description: Indigenous music
- Full Text: false
- Date Issued: 1949
- Authors: Ziyelesa Mwale , performer not specified , Composer not specified , Tracey, Hugh
- Date: 1949
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zambia Lusaka f-za
- Language: Nsega
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/379594 , vital:67361 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , AC0541-C4T5a
- Description: Indigenous music
- Full Text: false
- Date Issued: 1949
Apollo, Dionysus, dialectical reason and critical cinema
- Authors: Konik, Adrian
- Date: 2003
- Subjects: Motion pictures and language , Philosophy in motion pictures , Dionysus (Greek deity) in literature , Apollo (Greek deity) in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:10990 , http://hdl.handle.net/10948/295 , Motion pictures and language , Philosophy in motion pictures , Dionysus (Greek deity) in literature , Apollo (Greek deity) in literature
- Description: The contemporary era is dominated by an Apollonian visual language, i.e. the visual language of mainstream cinema and the mass media, and this study concerns the role that critical cinema, as Dionysian subverter, plays under such conditions. I argue that critical cinema should not be viewed as something completely ‘new’ but rather as a new, or at least the latest, manifestation of an older subversive ‘Dionysian’ voice that has made its presence felt since the dawn of the hegemony of an Apollonian disposition in Homeric epic. (I maintain that the history of western culture can be understood in terms of the persistent tension between Apollonian and Dionysian dispositions, and I use the distinction Derrida makes in Différance, between restricted and general economies, to distinguish between them, respectively.) I begin by considering the Dionysian echoes within Homer’s Iliad and then consider the way in which they became a ‘roar’ in the tragedies of Aeschylus. After Aeschylus a predominantly Apollonian voice asserted itself once again (to various degrees) through the work of Sophocles and Euripides. This was in keeping with the trend towards a more (Apollonian) restricted economy that is reflected in the writings of Homer’s literary successors, and which reached a crucial stage in Plato’s valorisation of ‘dialectics’, or what I term ‘dialecticis m’, which saw the birth of ‘dialectical language’. Through Plato dialecticism, or dialectical language, became instantiated as the ‘language’ of western philosophy and this predisposed western culture to develop along predominantly Apollonian lines. This continued from Plato, through the Middle Ages, until in the 17th century this Apollonian trend became manifest in the concept of the stable, integral, autonomous and self -transparent Cartesian ego, which is inextricably linked to dialectical language that promises certainty of ‘truth’ and maintains the possibility of representing the world in its entirety (as a system). In the contemporary ‘age of a world picture’, the hegemonic (Apollonian) visual language of mainstream cinema and the mass media propagates and perpetuates the belief in the possibility of representing the world in its entirety through the image, and insofar as it caters to audiences’ needs for stability and certainty (of ‘truth’) through providing such ‘complete’ representations, shapes their subjectivity along the lines of the Cartesian ego. According to Baudrillard, in contemporary society and culture the hyperreal realm of visual language has become far more significant for individuals than their immediate, empirical experiences, and that, as a result, they are far less predisposed to discussion and reflection and far more prone to passive ‘watching’. Also, Adorno maintains that it is impossible to have a form of critical cinema because of the way in which features inherent to cinema predispose it towards being an ideological apparatus. However, if both Baudrillard and Adorno are correct then the future appears increasingly bleak as it involves nothing other than the continuation and propagation of the hegemony of the visual language of mainstream cinema and the mass media, with no possibility for critical resistance. I argue instead that critical cinema is possible because the move towards a more restricted economy, motivated by an Apollonian disposition, did not develop from Homer to the contemporary era without meeting Dionysian resistance. I trace the presence of a subversive Dionysian voice through Homer’s Iliad, through Aeschylus’ Prometheus Bound, and through Plato’s Dialogues, where it echoes in the sentiments of some of Plato’s interlocutors, such as Callicles. In addition, I maintain that a ‘Dionysian’ voice resonates through both Nietzsche’s and Heidegger’s respective criticisms of ‘dialectical language’ and the ‘validity’ of the Cartesian ego. I argue that critical cinema, particularly Aronofsky’s postmodern critical cinema, parallels their similar epistemological and ontological perspectives in the way in which it engages with the (Apollonian) visual language of mainstream cinema and the mass media, and thereby, potentially, facilitates a more porous and protean subjectivity.
- Full Text:
- Date Issued: 2003
- Authors: Konik, Adrian
- Date: 2003
- Subjects: Motion pictures and language , Philosophy in motion pictures , Dionysus (Greek deity) in literature , Apollo (Greek deity) in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:10990 , http://hdl.handle.net/10948/295 , Motion pictures and language , Philosophy in motion pictures , Dionysus (Greek deity) in literature , Apollo (Greek deity) in literature
- Description: The contemporary era is dominated by an Apollonian visual language, i.e. the visual language of mainstream cinema and the mass media, and this study concerns the role that critical cinema, as Dionysian subverter, plays under such conditions. I argue that critical cinema should not be viewed as something completely ‘new’ but rather as a new, or at least the latest, manifestation of an older subversive ‘Dionysian’ voice that has made its presence felt since the dawn of the hegemony of an Apollonian disposition in Homeric epic. (I maintain that the history of western culture can be understood in terms of the persistent tension between Apollonian and Dionysian dispositions, and I use the distinction Derrida makes in Différance, between restricted and general economies, to distinguish between them, respectively.) I begin by considering the Dionysian echoes within Homer’s Iliad and then consider the way in which they became a ‘roar’ in the tragedies of Aeschylus. After Aeschylus a predominantly Apollonian voice asserted itself once again (to various degrees) through the work of Sophocles and Euripides. This was in keeping with the trend towards a more (Apollonian) restricted economy that is reflected in the writings of Homer’s literary successors, and which reached a crucial stage in Plato’s valorisation of ‘dialectics’, or what I term ‘dialecticis m’, which saw the birth of ‘dialectical language’. Through Plato dialecticism, or dialectical language, became instantiated as the ‘language’ of western philosophy and this predisposed western culture to develop along predominantly Apollonian lines. This continued from Plato, through the Middle Ages, until in the 17th century this Apollonian trend became manifest in the concept of the stable, integral, autonomous and self -transparent Cartesian ego, which is inextricably linked to dialectical language that promises certainty of ‘truth’ and maintains the possibility of representing the world in its entirety (as a system). In the contemporary ‘age of a world picture’, the hegemonic (Apollonian) visual language of mainstream cinema and the mass media propagates and perpetuates the belief in the possibility of representing the world in its entirety through the image, and insofar as it caters to audiences’ needs for stability and certainty (of ‘truth’) through providing such ‘complete’ representations, shapes their subjectivity along the lines of the Cartesian ego. According to Baudrillard, in contemporary society and culture the hyperreal realm of visual language has become far more significant for individuals than their immediate, empirical experiences, and that, as a result, they are far less predisposed to discussion and reflection and far more prone to passive ‘watching’. Also, Adorno maintains that it is impossible to have a form of critical cinema because of the way in which features inherent to cinema predispose it towards being an ideological apparatus. However, if both Baudrillard and Adorno are correct then the future appears increasingly bleak as it involves nothing other than the continuation and propagation of the hegemony of the visual language of mainstream cinema and the mass media, with no possibility for critical resistance. I argue instead that critical cinema is possible because the move towards a more restricted economy, motivated by an Apollonian disposition, did not develop from Homer to the contemporary era without meeting Dionysian resistance. I trace the presence of a subversive Dionysian voice through Homer’s Iliad, through Aeschylus’ Prometheus Bound, and through Plato’s Dialogues, where it echoes in the sentiments of some of Plato’s interlocutors, such as Callicles. In addition, I maintain that a ‘Dionysian’ voice resonates through both Nietzsche’s and Heidegger’s respective criticisms of ‘dialectical language’ and the ‘validity’ of the Cartesian ego. I argue that critical cinema, particularly Aronofsky’s postmodern critical cinema, parallels their similar epistemological and ontological perspectives in the way in which it engages with the (Apollonian) visual language of mainstream cinema and the mass media, and thereby, potentially, facilitates a more porous and protean subjectivity.
- Full Text:
- Date Issued: 2003
Apolemichthys kingi, a new species of angelfish (Pomacanthidae) from South Africa : with comments on the classification of angelfishes and a checklist of the Pomacanthids of the western Indian Ocean
- Heemstra, Phillip C, J.L.B. Smith Institute of Ichthyology
- Authors: Heemstra, Phillip C , J.L.B. Smith Institute of Ichthyology
- Date: 1984-05
- Subjects: Angelfish -- South Africa -- Classification
- Language: English
- Type: text , book
- Identifier: http://hdl.handle.net/10962/70083 , vital:29612 , Margaret Smith Library (South African Institute for Aquatic Biodiversity (SAIAB)) Periodicals Margaret Smith Library (South African Institute for Aquatic Biodiversity (SAIAB))
- Description: Online version of original print edition of the Special Publication of the J.L.B. Smith Institute of Ichthyology; No. 35 , A new species of angelfish is described from three specimens collected in 30 m off Durban, South Africa. The distinction of the genus Apolemichthys is discussed, and an annotated checklist of the pomacanthids of the Western Indian Ocean is presented. The first positive record of Centropyge bispinosus (Gunther, 1860) from southern Africa is reported, based on a specimen collected at Sodwana Bay (27°30’S).
- Full Text:
- Date Issued: 1984-05
- Authors: Heemstra, Phillip C , J.L.B. Smith Institute of Ichthyology
- Date: 1984-05
- Subjects: Angelfish -- South Africa -- Classification
- Language: English
- Type: text , book
- Identifier: http://hdl.handle.net/10962/70083 , vital:29612 , Margaret Smith Library (South African Institute for Aquatic Biodiversity (SAIAB)) Periodicals Margaret Smith Library (South African Institute for Aquatic Biodiversity (SAIAB))
- Description: Online version of original print edition of the Special Publication of the J.L.B. Smith Institute of Ichthyology; No. 35 , A new species of angelfish is described from three specimens collected in 30 m off Durban, South Africa. The distinction of the genus Apolemichthys is discussed, and an annotated checklist of the pomacanthids of the Western Indian Ocean is presented. The first positive record of Centropyge bispinosus (Gunther, 1860) from southern Africa is reported, based on a specimen collected at Sodwana Bay (27°30’S).
- Full Text:
- Date Issued: 1984-05
Apo nakulila nshangala wabalume
- Luunda women, performer not specified, composer not specified, Tracey, Hugh
- Authors: Luunda women , performer not specified , composer not specified , Tracey, Hugh
- Date: 1949
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zambia city not specified f-za
- Language: Luunda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/374144 , vital:66760 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , ACO453-C3H8
- Description: Indigenous music
- Full Text: false
- Date Issued: 1949
- Authors: Luunda women , performer not specified , composer not specified , Tracey, Hugh
- Date: 1949
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zambia city not specified f-za
- Language: Luunda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/374144 , vital:66760 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , ACO453-C3H8
- Description: Indigenous music
- Full Text: false
- Date Issued: 1949
Apo nakulila nshangala nabalume
- Lunda Women, Composer not specified, Tracey, Hugh
- Authors: Lunda Women , Composer not specified , Tracey, Hugh
- Date: 1949-07-20
- Subjects: Popular music--Africa , Field recordings , Africa, Sub-Saharan , Africa Zimbia City not specified f-za
- Language: Lunda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/277046 , vital:55231 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP1117-XYZ4408.2Ad
- Description: Indigenous music
- Full Text: false
- Date Issued: 1949-07-20
- Authors: Lunda Women , Composer not specified , Tracey, Hugh
- Date: 1949-07-20
- Subjects: Popular music--Africa , Field recordings , Africa, Sub-Saharan , Africa Zimbia City not specified f-za
- Language: Lunda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/277046 , vital:55231 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP1117-XYZ4408.2Ad
- Description: Indigenous music
- Full Text: false
- Date Issued: 1949-07-20
Apo nakulila nshangala nabalume
- Lunda Women, Composer not specified, Tracey, Hugh
- Authors: Lunda Women , Composer not specified , Tracey, Hugh
- Date: 1949-07-20
- Subjects: Popular music--Africa , Field recordings , Africa, Sub-Saharan , Africa Zambia City not specified f-za
- Language: Lunda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/277051 , vital:55232 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP1119-XYZT4410
- Description: Indigenous music
- Full Text: false
- Date Issued: 1949-07-20
- Authors: Lunda Women , Composer not specified , Tracey, Hugh
- Date: 1949-07-20
- Subjects: Popular music--Africa , Field recordings , Africa, Sub-Saharan , Africa Zambia City not specified f-za
- Language: Lunda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/277051 , vital:55232 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP1119-XYZT4410
- Description: Indigenous music
- Full Text: false
- Date Issued: 1949-07-20
Apo nakulila nshangala nabalume
- Luunda women, Composer not specified, Tracey, Hugh
- Authors: Luunda women , Composer not specified , Tracey, Hugh
- Date: 1949-07-20
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Zambia Kambwali, Kwawambua f-za
- Language: Bemba
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/204466 , vital:46787 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT-045 , Research no. C3H8
- Description: A wedding song played for the bride the day before the wedding accompanied by drums and axes.
- Full Text: false
- Date Issued: 1949-07-20
- Authors: Luunda women , Composer not specified , Tracey, Hugh
- Date: 1949-07-20
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Zambia Kambwali, Kwawambua f-za
- Language: Bemba
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/204466 , vital:46787 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT-045 , Research no. C3H8
- Description: A wedding song played for the bride the day before the wedding accompanied by drums and axes.
- Full Text: false
- Date Issued: 1949-07-20
Apo Mambo Anopinda
- Harare seventh Day Adventist Choir, performer not specified, Composer not specified, Tracey, Hugh
- Authors: Harare seventh Day Adventist Choir , performer not specified , Composer not specified , Tracey, Hugh
- Date: 1950
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe Harare f-rh
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/382663 , vital:67695 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , ACO603-DG6
- Description: Indigenous music
- Full Text: false
- Date Issued: 1950
- Authors: Harare seventh Day Adventist Choir , performer not specified , Composer not specified , Tracey, Hugh
- Date: 1950
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe Harare f-rh
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/382663 , vital:67695 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , ACO603-DG6
- Description: Indigenous music
- Full Text: false
- Date Issued: 1950
Apo Mambo Anopinda
- Harare Seventh Day Adventist Choir, Composer Not Specified, Tracey, Hugh
- Authors: Harare Seventh Day Adventist Choir , Composer Not Specified , Tracey, Hugh
- Date: 1950-05-05
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe Harare f-sa
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/217442 , vital:48283 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR1271 , GB1158T
- Description: Church choir song unaccompanied
- Full Text: false
- Date Issued: 1950-05-05
- Authors: Harare Seventh Day Adventist Choir , Composer Not Specified , Tracey, Hugh
- Date: 1950-05-05
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe Harare f-sa
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/217442 , vital:48283 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR1271 , GB1158T
- Description: Church choir song unaccompanied
- Full Text: false
- Date Issued: 1950-05-05
Apo mambo anopinda
- Harare Seventh Day Adventist Choir, Composer not specified, Tracey, Hugh
- Authors: Harare Seventh Day Adventist Choir , Composer not specified , Tracey, Hugh
- Date: 1950-05-05
- Subjects: Popular music--Africa , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe Harare f-rh
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/252854 , vital:52283 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR3597 , XYZ4757
- Description: Unaccompanied hymn
- Full Text: false
- Date Issued: 1950-05-05
- Authors: Harare Seventh Day Adventist Choir , Composer not specified , Tracey, Hugh
- Date: 1950-05-05
- Subjects: Popular music--Africa , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe Harare f-rh
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/252854 , vital:52283 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR3597 , XYZ4757
- Description: Unaccompanied hymn
- Full Text: false
- Date Issued: 1950-05-05
Apo mambo anopinda
- Harare Seventh Day Adventist Choir, Composer not specified, Tracey, Hugh
- Authors: Harare Seventh Day Adventist Choir , Composer not specified , Tracey, Hugh
- Date: 1950
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe Harare f-rh
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/315473 , vital:59718 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP2720-XYZ6250
- Description: Indigenous music
- Full Text: false
- Date Issued: 1950
- Authors: Harare Seventh Day Adventist Choir , Composer not specified , Tracey, Hugh
- Date: 1950
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe Harare f-rh
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/315473 , vital:59718 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP2720-XYZ6250
- Description: Indigenous music
- Full Text: false
- Date Issued: 1950
Apo Mamba Anopinda
- Harare seventh Day Adventist Choir, Composer not specified, Tracey, Hugh
- Authors: Harare seventh Day Adventist Choir , Composer not specified , Tracey, Hugh
- Date: 1950
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe City not specified f-rh
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/280765 , vital:55654 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP1316-XYZ4758
- Description: Indigenous music
- Full Text: false
- Date Issued: 1950
- Authors: Harare seventh Day Adventist Choir , Composer not specified , Tracey, Hugh
- Date: 1950
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe City not specified f-rh
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/280765 , vital:55654 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP1316-XYZ4758
- Description: Indigenous music
- Full Text: false
- Date Issued: 1950
Apneic Bradycardia : terrestrial and aquatic responses in man under working conditions
- Authors: Manley, Elizabeth
- Date: 1989
- Subjects: Apnea Respiration -- Measurement Heart rate monitoring Work -- Physiological aspects Underwater -- Physiology
- Language: English
- Type: Thesis , Masters , MSc
- Identifier: vital:5098 , http://hdl.handle.net/10962/d1001838
- Description: The focus of this research was the reappraisal in physiological and psychophysical terms of current equivocal theories regarding the onset, course and termination of apneic bradycardia. Sixteen healthy male subjects participated in four separate testing sessions . Maximal oxygen consumption (VO₂ max) was measured on land and underwater using an identical direct, continuous progressive cycle ergometer test. On each of two other occasions subjects exercised in either environment at 50, 70 and 90% of the appropriate VO₂ max, during which time heart rate was continuously recorded. An initial apneic bout at each exercise intensity was followed by performance of the same workload without apnea for an equivalent period of time. Ratings of perceived exertion (RPE) were also monitored. While apneic bradycardia occurred at each exercise intensity studied underwater, it was apparent only at 50% VO₂ max on land. With the exception of between 50 and 90% VO₂ max on land, the mean apneic heart rates did not differ with varying exercise intensity (p<0.05); nor did the lowest heart rate recorded, although this was lower underwater than on land. Apart from 70% VO₂ max on land, apneic heart rates were lower than the equivalent values measured during exercise without apnea. Land and underwater heart rates during apneic and non-apneic conditions did not differ until 90% VO₂ max. The effects of increasing exercise intensity upon the onset of bradycardia were evident in that it occurred earlier at 50% VO₂ max underwater than at the heavier workloads, and only at 50% VO₂ max on land. The mean breath-hold duration did not differ between the land and underwater environments, nor was it affected by increasing exercise intensity. The order in which breath-holds was performed did not alter the length of apnea. Land and underwater RPE did not differ and increased with increasing exercise intensity in both environments. During apneic exercise RPE was greater than the equivalent exercise without apnea. Twelve of the original 16 subjects were divided equally into two groups on the basis of vital capacity expressed relative to body surface area. Vital capacity was measured during the first laboratory session. Neither the mean heart rate response to apneic exercise at 50% V0₂ max in both environments, nor the lowest heart rates recorded differed between groups, prompting the conclusion that lung volume did not affect apneic bradycardia. Despite a longer breath-hold duration for Group A (large relative lung volume) than Group B (small relative lung volume), the onset point of bradycardia was the same for either group when expressed relative to total breath-hold duration
- Full Text:
- Date Issued: 1989
- Authors: Manley, Elizabeth
- Date: 1989
- Subjects: Apnea Respiration -- Measurement Heart rate monitoring Work -- Physiological aspects Underwater -- Physiology
- Language: English
- Type: Thesis , Masters , MSc
- Identifier: vital:5098 , http://hdl.handle.net/10962/d1001838
- Description: The focus of this research was the reappraisal in physiological and psychophysical terms of current equivocal theories regarding the onset, course and termination of apneic bradycardia. Sixteen healthy male subjects participated in four separate testing sessions . Maximal oxygen consumption (VO₂ max) was measured on land and underwater using an identical direct, continuous progressive cycle ergometer test. On each of two other occasions subjects exercised in either environment at 50, 70 and 90% of the appropriate VO₂ max, during which time heart rate was continuously recorded. An initial apneic bout at each exercise intensity was followed by performance of the same workload without apnea for an equivalent period of time. Ratings of perceived exertion (RPE) were also monitored. While apneic bradycardia occurred at each exercise intensity studied underwater, it was apparent only at 50% VO₂ max on land. With the exception of between 50 and 90% VO₂ max on land, the mean apneic heart rates did not differ with varying exercise intensity (p<0.05); nor did the lowest heart rate recorded, although this was lower underwater than on land. Apart from 70% VO₂ max on land, apneic heart rates were lower than the equivalent values measured during exercise without apnea. Land and underwater heart rates during apneic and non-apneic conditions did not differ until 90% VO₂ max. The effects of increasing exercise intensity upon the onset of bradycardia were evident in that it occurred earlier at 50% VO₂ max underwater than at the heavier workloads, and only at 50% VO₂ max on land. The mean breath-hold duration did not differ between the land and underwater environments, nor was it affected by increasing exercise intensity. The order in which breath-holds was performed did not alter the length of apnea. Land and underwater RPE did not differ and increased with increasing exercise intensity in both environments. During apneic exercise RPE was greater than the equivalent exercise without apnea. Twelve of the original 16 subjects were divided equally into two groups on the basis of vital capacity expressed relative to body surface area. Vital capacity was measured during the first laboratory session. Neither the mean heart rate response to apneic exercise at 50% V0₂ max in both environments, nor the lowest heart rates recorded differed between groups, prompting the conclusion that lung volume did not affect apneic bradycardia. Despite a longer breath-hold duration for Group A (large relative lung volume) than Group B (small relative lung volume), the onset point of bradycardia was the same for either group when expressed relative to total breath-hold duration
- Full Text:
- Date Issued: 1989
Aplousobranch ascidians (Tunicata: Ascidiacea) from Southern Africa
- Authors: Parker-Nance, Shirley
- Date: 2003
- Subjects: Sea squirts -- South Africa -- Classification , Aplousobranchia -- South Africa -- Classification
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:11078 , http://hdl.handle.net/10948/311 , Sea squirts -- South Africa -- Classification , Aplousobranchia -- South Africa -- Classification
- Description: The ascidian (subphylum Tunicata: class Ascidiacea) fauna along the southern African coast constitutes an important component of the sessile benthic reef fauna. Little is known of the species composition, biodiversity and distribution of ascidians on southern African intertidal and subtidal reefs. Past research on the ascidian fauna of South Africa was sporadic and limited, with only about one hundred and seventy species recorded during the last one hundred and twenty years. This is the first taxonomic study undertaken by a South African resident scientist. The study focused on six genera in four families (Euherdmaniidae, Polyclinidae, Pseudodistomidae and Didemnidae) belonging to the class Ascidiacea and suborder Aplousobranchia. Five species new to science, two Polyclinum, two Pseudodistoma and one Polysyncraton species are described. New additional information on the distribution of five species previously known to science, including one recorded for the first time along the South African coast, is presented. A literature review and comparison of the taxonomic important characteristics is made of all species known globally for the six genera. These six genera comprise twelve Euherdmania, fifteen Aplidiopsis, forty Polyclinum thirty-one Pseudodistoma, six Atriolum and sixty-eight Polysyncraton species.
- Full Text:
- Date Issued: 2003
- Authors: Parker-Nance, Shirley
- Date: 2003
- Subjects: Sea squirts -- South Africa -- Classification , Aplousobranchia -- South Africa -- Classification
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:11078 , http://hdl.handle.net/10948/311 , Sea squirts -- South Africa -- Classification , Aplousobranchia -- South Africa -- Classification
- Description: The ascidian (subphylum Tunicata: class Ascidiacea) fauna along the southern African coast constitutes an important component of the sessile benthic reef fauna. Little is known of the species composition, biodiversity and distribution of ascidians on southern African intertidal and subtidal reefs. Past research on the ascidian fauna of South Africa was sporadic and limited, with only about one hundred and seventy species recorded during the last one hundred and twenty years. This is the first taxonomic study undertaken by a South African resident scientist. The study focused on six genera in four families (Euherdmaniidae, Polyclinidae, Pseudodistomidae and Didemnidae) belonging to the class Ascidiacea and suborder Aplousobranchia. Five species new to science, two Polyclinum, two Pseudodistoma and one Polysyncraton species are described. New additional information on the distribution of five species previously known to science, including one recorded for the first time along the South African coast, is presented. A literature review and comparison of the taxonomic important characteristics is made of all species known globally for the six genera. These six genera comprise twelve Euherdmania, fifteen Aplidiopsis, forty Polyclinum thirty-one Pseudodistoma, six Atriolum and sixty-eight Polysyncraton species.
- Full Text:
- Date Issued: 2003