The Mandinka Epic
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Offshore West Africa – Agc
QUARTERLY REPORT FOR THE PERIOD FROM 1 OCTOBER 2010 TO 31 DECEMBER 2010 HIGHLIGHTS OFFSHORE WEST AFRICA - AGC Drilling of Kora prospect with mean potential of 453mmbbl expected early April 2011; Total un-risked resource potential estimated at approximately 1.7billion barrels of oil equivalent. OFFSHORE WEST AFRICA - SENEGAL Application lodged to enter the second renewal period which includes an exploration well; Agreement signed giving Ophir the right to acquire a 25% stake in the licences; Farmout discussions continuing. OFFSHORE WEST AFRICA - GUINEA BISSAU Data acquisition phase of 3D seismic survey completed; Processing and interpretation in progress; The blocks contain an existing oil discovery with P50 STOOIP of 240mmbbl and several large untested prospects. UNITED STATES OF AMERICA Third quarter oil and gas sales of $212,174. CHINA US$6 million of receivables due from the sale of Beibu Gulf interest, subject to conditions precedent being met. CAPITAL RAISING $34million capital raising completed, through a placement and SPP, to fund West African exploration and to pursue growth opportunities. CASH POSITION Cash balance at 31 December 2010 of $38.1m. OFFSHORE WEST AFRICA – AGC AGC PROFOND (FAR 10% paying interest) During the quarter FAR entered into a Heads of Agreement (Agreement) with Ophir Energy plc (Ophir) to participate in the drilling of the Kora prospect via the acquisition of a 10 percent interest in the AGC Profond PSC, in the offshore area jointly administered by Senegal and Guinea Bissau. The Kora well is targeting a prospect with mean prospective oil resources of 453 million barrels (Ophir estimate). The well, which will be drilled by the semi-submersible rig Maersk Deliverer, is currently expected to spud in early April 2011. -
Categorization of Stringed Instruments with Multifractal Detrended Fluctuation Analysis
CATEGORIZATION OF STRINGED INSTRUMENTS WITH MULTIFRACTAL DETRENDED FLUCTUATION ANALYSIS Archi Banerjee*, Shankha Sanyal, Tarit Guhathakurata, Ranjan Sengupta and Dipak Ghosh Sir C.V. Raman Centre for Physics and Music Jadavpur University, Kolkata: 700032 *[email protected] * Corresponding Author ABSTRACT Categorization is crucial for content description in archiving of music signals. On many occasions, human brain fails to classify the instruments properly just by listening to their sounds which is evident from the human response data collected during our experiment. Some previous attempts to categorize several musical instruments using various linear analysis methods required a number of parameters to be determined. In this work, we attempted to categorize a number of string instruments according to their mode of playing using latest-state-of-the-art robust non-linear methods. For this, 30 second sound signals of 26 different string instruments from all over the world were analyzed with the help of non linear multifractal analysis (MFDFA) technique. The spectral width obtained from the MFDFA method gives an estimate of the complexity of the signal. From the variation of spectral width, we observed distinct clustering among the string instruments according to their mode of playing. Also there is an indication that similarity in the structural configuration of the instruments is playing a major role in the clustering of their spectral width. The observations and implications are discussed in detail. Keywords: String Instruments, Categorization, Fractal Analysis, MFDFA, Spectral Width INTRODUCTION Classification is one of the processes involved in audio content description. Audio signals can be classified according to miscellaneous criteria viz. speech, music, sound effects (or noises). -
West Africa Manual English
Manual Disclaimer The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments. “Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru ments GmbH. Mac, macOS, GarageBand, Logic, iTunes and iPod are registered trademarks of Apple Inc., registered in the U.S. and other countries. Windows, Windows Vista and DirectSound are registered trademarks of Microsoft Corporation in the United States and/or other countries. All other trademarks are the property of their respective owners and use of them does not imply any affiliation with or endorsement by them. Document authored by: Adam Hanley Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product. Contact NATIVE INSTRUMENTS GmbH NATIVE INSTRUMENTS North America, Inc. Schlesische Str. 29-30 6725 Sunset Boulevard D-10997 Berlin 5th Floor Germany Los Angeles, CA 90028 www.native-instruments.de USA www.native-instruments.com NATIVE INSTRUMENTS K.K. NATIVE INSTRUMENTS UK Limited YO Building 3F 18 Phipp Street Jingumae 6-7-15, Shibuya-ku, London EC2A 4NU Tokyo 150-0001 UK Japan www.native-instruments.co.uk www.native-instruments.co.jp NATIVE INSTRUMENTS FRANCE SARL SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 113 Rue Saint-Maur 5F, Shenzhen Zimao Center 75011 Paris 111 Taizi Road, Nanshan District, Shenzhen, Guangdong France China www.native-instruments.com www.native-instruments.com © NATIVE INSTRUMENTS GmbH, 2018. -
The 19Th Century Jihads in West Africa
THE 19TH CENTURY JIHADS IN WEST AFRICA A Jihad is a holy defensive war waged by Muslim reformers against injustices in the society, aimed at protecting the wronged and oppressed people together with their property and at the same time, spreading, purifying and strengthening Islam. In the Nineteenth Century, West Africa saw a wave of Jihads; however, three were more profound: 1. The Jihads that broke out in Hausaland in 1804 under the leadership of Uthman Dan Fodio. These took place in Sokoto area; and thus came to be known as the Sokoto Jihads. 2. In 1818, another Jihad was conducted in Massina under the headship of Seku (Sehu) Ahmadu. These came to be known as the Massina Jihads. 3. In Futa–Jallon and Futa–toto, another Jihadist called Al-Hajj Umar carried out a Jihad in 1851. This was known as the Tokolor or Tijjan Jihad. All these Jihads were led by members of the Fulani Muslims and carried out by people of Fulani origin; as such, the Jihads came to be known as the Fulani Jihads. CAUSES OF THE 19TH CENTURY JIHAD MOVEMENTS IN WEST AFRICA. Question: Account for the outbreak of the 19th Century Jihad Movement in West Africa. Although the Nineteenth Century Jihads were religious movements, they had a mixture of political, economic and intellectual causes; and a number of factors accounted for their outbreak in West Africa. 1. The 19th Century Jihads aimed at spreading Islam to the people who had not been converted to it. There were areas which had not been touched by Islam such as Mossi, Nupe, Borgu and Adamawa. -
" African Blues": the Sound and History of a Transatlantic Discourse
“African Blues”: The Sound and History of a Transatlantic Discourse A thesis submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Saul Meyerson-Knox BA, Guilford College, 2007 Committee Chair: Stefan Fiol, PhD Abstract This thesis explores the musical style known as “African Blues” in terms of its historical and social implications. Contemporary West African music sold as “African Blues” has become commercially successful in the West in part because of popular notions of the connection between American blues and African music. Significant scholarship has attempted to cite the “home of the blues” in Africa and prove the retention of African music traits in the blues; however much of this is based on problematic assumptions and preconceived notions of “the blues.” Since the earliest studies, “the blues” has been grounded in discourse of racial difference, authenticity, and origin-seeking, which have characterized the blues narrative and the conceptualization of the music. This study shows how the bi-directional movement of music has been used by scholars, record companies, and performing artist for different reasons without full consideration of its historical implications. i Copyright © 2013 by Saul Meyerson-Knox All rights reserved. ii Acknowledgements I would like to express my utmost gratitude to my advisor, Dr. Stefan Fiol for his support, inspiration, and enthusiasm. Dr. Fiol introduced me to the field of ethnomusicology, and his courses and performance labs have changed the way I think about music. -
Soriba Kouyaté
SORIBA KOUYATÉ SORIBA KOUYATÈ LIVE IN MONTREUX ACT 9414-2 Release date: 27. January 2003 "Ladies and gentlemen, for the final part of the Act World Jazz Night, I am very proud to present to you a very special group of people, including this wonderful artist who has created such an incredible impact, Soriba Kouyaté, ". These words set off one of the most exciting journeys through the world of musical beauty and rebellion at the 2000 Montreux Jazz Festival. Soriba Kouyaté overwhelmed both public and press with his passion, technical brilliance, and amazing sound. You can hear it for yourself - this live recording is proof that the Senegalese's reputation as an important innovator of the Kora is justified. Soriba Kouyaté was born on December 23rd 1963 in Senegal's capital, Dakar. He was born to be a musician: he is the son of Senegal's most famous Kora player, and playing music is a family tradition. Soriba's father Mamadou Kouyaté has not only performed regularly for Senegalese president Senghor, he also founded the country's first Kora school. His father felt a debt to his ancestors; they were all Griots, wise men of the Mali empire who carried with them the oral history of the people, sang the praises of and gave council to kings and nobles. The Griots with their Koras were living libraries who handed down the wisdom and tradition of the land through song, strengthening the community's morality and sense of self-worth. To Soriba, the pride of being the heir to a Griot family is combined with a critical attitude towards the protective part the Griots are playing in African society. -
Ufahamu: a Journal of African Studies
UCLA Ufahamu: A Journal of African Studies Title …And the Gods Did Not Avenge Us Permalink https://escholarship.org/uc/item/6904m785 Journal Ufahamu: A Journal of African Studies, 13(2-3) ISSN 0041-5715 Author Diawara, Manthia Publication Date 1984 DOI 10.5070/F7132-3017115 Peer reviewed eScholarship.org Powered by the California Digital Library University of California AND THE GODS DID NOT AVENGE US (A Shor t Story) By Manthia Diawara And • .:o folks coul d not sp eak Kandinka . My -ot her was a Karaka housewife who used to go to t he aa r ke t pTace wi thout wea r i ng any -a keup. It was fashionabl e then, all'(ln g t he Mandinlt.a wome n , to put cbo'le on their eyebrows. My ec t her had tribal ~ rk s: --three vert i cal scar s on both cheeks and three chips on her forehead . When s he spo ke Mandinka , she always ended her sentences with some Maraka wo rds. Al l the WOIIlt'n in the mar ket pl ace knew she was a forei gner . And my friends ca lled me the "'araka boy. I did not l ike t hat. My father was very tall , and crippled in the right l eg . He walked very fas t to hi s destinations and did not have the elegance or nonchalance which we re the trademarks of the Han dinka men. When my friends sa w him coming, they always said, "t here is the Hdraka ma n." I did not like that either. -
EARLY LISTENER's GUIDE Strings
EARLY LISTENER’S GUIDE Strings 1 Table of Contents Welcome Letter, Guide Information…………………………………………………………………3 Strings Concert Program…………………………………………………………………………………..5 About the Composers and Conductors………………………………………………………………6 Snapshot for Students and Teachers………………………………………………………………….8 String One: Connecting Pieces………………………………………………………………………….9 String Two: The Art of Listening…………………………………..…………………………………12 String Three: Bowing and Bowing………………………………………….………………………..17 String Four: Strings…In A Different Part of America!..……………………………………….22 String Five: Strings…In A Different Place!…………………………………………………………27 String Six: All Kinds of A-B-A…………………………………………………………………………31 String Seven: How Do I Look?……………………………………………………………………….35 String Eight: Finding Strings……………………………………………………………………………39 Special Thanks……………………………………………………………………………………………..42 2 Welcome to the BGE Midweek Classroom Broadcasts! On behalf of the BSO Associate Conductor, Nicholas Hersh, Assistant Conductor Jonathan Taylor Rush, the members of the Baltimore Symphony Orchestra, and the BSO Education Department, we are delighted to welcome you to our 2020-2021 Midweek Classroom Broadcasts. With the BSO’s Midweek Concert series as the longest running education initiative at the BSO (running since February 16, 1924), and the first regular educational concert series of any orchestra in the country, we are thrilled to have you join us for these concerts online. About This Guide On the next pages you will find the Early Listener’s Guide for the Strings Concert Program, written by a highly skilled group of Maryland educators with specialism in Music, Drama, Science, English/Language Arts, and Visual Arts, led by award-winning curriculum writer and editor, Richard McCready. At the start of the guide is a “Snapshot” of your concert experience. This will give you a sense of what to expect in the broadcast, along with some thoughts about the various curricular connections, and music we suggest you listen to in the classroom, or at home. -
Hist 111 - World Civilization
South Dakota State University Hist 111 - World Civilization Concepts addressed: African kingdoms: Ghana, Mali, and Songhai I. Ghana Empire (c. 900-1240 CE) - based in area of modern SE Mauritania, part of Mali A. Possibly the first empire in the Sahel - small Berber principality present from 4th century CE expanded in size and influence rapidly B. Introduction of camel and other livestock by Arabs in 8th century sparked revolution in trade - enabled gold, ivory, salt resources to be sent to North and East in return for manufactured goods C. Growing trade surplus supported growth of urban centers D. Leaders pursued territorial expansion to control trade routes E. Empire dominated by Soninke people F. F. Capital at Kumbi Saleh (pop. c. 30,000) on edge of Sahara - Shared by Africans (mud- brick houses) and Arabs (stone houses - traders, also employed as bureaucrats/ administrators since literate) G. By 11th century, king had army of 200,000 at his service H. H. King called "the Ghana" (thus the name of the empire) - succession passed to son of his sister - Dead king buried in large dome-roofed tombs I. Religion centered around emperor-worship J. Permitted Islam but kings never converted K. Almoravids in NW Africa launched jihad vs. long-struggling kingdom 1. Emergence of Almoravids had disrupted Saharan trade routes, pushed them west 2. Ghanese urban population overburdened resources of environment 3. Sahara was spreading south 4. With decline of trade, no longer had income needed to import food 5. By 13th century, vassal states were rebelling - Almoravids took advantage II. Mali Empire - Islamic Empire in West Africa (14th-1ih century CE) A. -
West African Manuscripts in Arabic and African Languages and Digital Preservation
West African Manuscripts in Arabic and African Languages and Digital Preservation Oxford Research Encyclopedia of African History West African Manuscripts in Arabic and African Languages and Digital Preservation Fallou Ngom Subject: Historical Preservation and Cultural Heritage, Intellectual History, West Africa Online Publication Date: Jun 2017 DOI: 10.1093/acrefore/9780190277734.013.123 Abstract and Keywords West African manuscripts are numerous and varied in forms and contents. There are thousands of them across West Africa. A significant portion of them are documents written in Arabic and Ajami (African languages written in Arabic script). They deal with both religious and nonreligious subjects. The development of these manuscript traditions dates back to the early days of Islam in West Africa, in the 11th century. In addition to these Arabic and Ajami manuscripts, there have been others written in indigenous scripts. These include those in the Vai script invented in Liberia; Tifinagh, the traditional writing system of the Amazigh (Berber) people; and the N’KO script invented in Guinea for Mande languages. While the writings in indigenous scripts are rare less numerous and widespread, they nonetheless constitute an important component of West Africa’s written heritage. Though the efforts devoted to the preservation of West African manuscripts are limited compared to other world regions, interest in preserving them has increased. Some of the initial preservation efforts of West African manuscripts are the collections of colonial officers. Academics later supplemented these collections. These efforts resulted in important print and digital repositories of West African manuscripts in Africa, Europe, and America. Until recently, most of the cataloguing and digital preservation efforts of West African manuscripts have focused on those written in Arabic. -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
A Short History of Africa
A Short History of Africa Chapter 1. The Races of Africa. ..................................................3 Chapter 2. The Kushites : Meroe : Nubia. ....................................5 Chapter 3. North Africa until the 7th Century A.D. : Carthage : Rome : The Vandals : Byzantium.........................................6 Chapter 4. North Africa : The Arabs. ...........................................9 Chapter 5. The Early Kingdoms of the Western and Central Sudan.11 Chapter 6. Eastern and Central Africa : The Swahili. ................... 13 Chapter 7. The West African Forest Kingdoms. ........................... 15 Chapter 9. Portuguese Exploration and Colonisation.................... 18 Chapter 10. The Slave Trade. .................................................... 20 Chapter 12. Africa in the Early Years of the 19th Century. ............. 22 Chapter 12. European Exploration 1770-1870.............................. 25 Chapter 13. French and British Activities in Africa from the 1820s to 1880s. .................................................................. 27 Chapter 14. The "Scramble for Africa"......................................... 30 Chapter 15. The Colonial Period. ................................................ 34 Chapter 16. The Africans become Independent. ........................... 36 Chapter 18. After Independence: North Africa.............................. 42 Chapter 19.After Independence: The Countries of the Sudan......... 45 Chapter 20. After Independence - West Africa.............................. 48 Chapter