The Ecology of Cheetahs and Other Large Carnivores in a Pastoralist-Dominated Buffer Zone
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Mkoa Wa Arusha Halmashauri Ya Wilaya Ya Ngorongoro Wanafunzi Waliochaguliwa Kujiunga Na Kidato Cha Kwanza 2021
MKOA WA ARUSHA HALMASHAURI YA WILAYA YA NGORONGORO WANAFUNZI WALIOCHAGULIWA KUJIUNGA NA KIDATO CHA KWANZA 2021 C: SHULE ZA SEKONDARI ZA KUTWA/HOSTEL SHULE YA SEKONDARI ARASH I:WAVULANA NAMBA YA SHULE NA JINA LA MTAHINIWA SHULE ATOKAYO DARAJA PREMS AENDAYO 1 20141524943 OLOWASSA KOPIRATO NANGIRIA ENG/SAMBU ARASH A 2 20141524934 KOISIKIRI PANIANI MUTEL ENG/SAMBU ARASH A 3 20141524938 MORANI LAZARO JARTAN ENG/SAMBU ARASH A 4 20141612507 WACHINGA LEMANGI NG'EYDASHEG OLPIRO ARASH A 5 20141524945 TAGEI ROKOBE MUSSA ENG/SAMBU ARASH A 6 20141612495 GIDASHI JERUMAN BALAWA OLPIRO ARASH A 7 20141612493 GIDABARDEDA GULENDE GIDAGUJONJODA OLPIRO ARASH B 8 20141556147 SAITOTI JOSEPH MBOTOONY ENG/SAMBU ARASH B 9 20141568040 KAJEFU JOHN KWABE MAGERI ARASH B 10 20141612502 GIYONGI LEMANGI NG'EYDASHEG OLPIRO ARASH B 11 20141568041 KASUBENI KANARI SUGENYA MAGERI ARASH B 12 20141612497 GISAGHAN GITAMBODA NENAGI OLPIRO ARASH B 13 20141524937 LEMAYANI NDEREREI KEREKU ENG/SAMBU ARASH B 14 20141524932 ERICK INOSENTI KIMWAI ENG/SAMBU ARASH B 15 20141524941 OLOINYAKWA KIARO MOTI ENG/SAMBU ARASH B 16 20141568039 JULIUS KANARI SUGENYA MAGERI ARASH B 17 20141556145 SABORE MURIANGA MASHATI NG'ARWA ARASH B 18 20141612499 GITARAN GWAYDESH GISHING'ADEDA OLPIRO ARASH B 19 20141524939 NDOLEI SALONIKI SEREKA ENG/SAMBU ARASH B 20 20141350416 OLAIS LESKARI MOLLEL OLBALBAL ARASH B 21 20141623101 SAGUYA WILLIAM KASINIA MASUSU ARASH B 22 20141232035 EMANUEL FAUSTINI GWANDU OLBALBAL ARASH B 23 20141637008 PASCAL JACOB DOODOSI OLBALBAL ARASH B 24 20141524936 KUMOMALI SANDETWA SILOMA -
Global Journal of Human Social Science
Online ISSN: 2249-460X Print ISSN: 0975-587X exploration Volume 11 Issue 5 of version 1.0 innovations4 Comparative Analysis Patterns of Contemporary Geographic Information Facet of Human Rights October 2011 Global Journal of Human Social Science Global Journal of Human Social Science Volume 11 Issue 5 (Ver. 1.0) Open Association of Research Society *OREDO-RXUQDORI+XPDQ *OREDO-RXUQDOV,QF 6RFLDO6FLHQFHV $'HODZDUH86$,QFRUSRUDWLRQZLWK³*RRG6WDQGLQJ´Reg. Number: 0423089 6SRQVRUV Open Association of Research Society $OOULJKWVUHVHUYHG 2SHQ6FLHQWLILF6WDQGDUGV 7KLVLVDVSHFLDOLVVXHSXEOLVKHGLQYHUVLRQ RI³*OREDO-RXUQDORI+XPDQ6RFLDO 3XEOLVKHU¶V+HDGTXDUWHUVRIILFH 6FLHQFHV´%\*OREDO-RXUQDOV,QF $OODUWLFOHVDUHRSHQDFFHVVDUWLFOHVGLVWULEXWHG *OREDO-RXUQDOV,QF+HDGTXDUWHUV&RUSRUDWH2IILFH XQGHU³*OREDO-RXUQDORI+XPDQ6RFLDO 6FLHQFHV´ &DPEULGJH2IILFH&HQWHU,,&DQDO3DUN)ORRU1R 5HDGLQJ/LFHQVHZKLFKSHUPLWVUHVWULFWHGXVH WKCambridge (Massachusetts)3LQ0$ (QWLUHFRQWHQWVDUHFRS\ULJKWE\RI³*OREDO -RXUQDORI+XPDQ6RFLDO6FLHQFHV´XQOHVV 8QLWHG6WDWHV RWKHUZLVHQRWHGRQVSHFLILFDUWLFOHV 86$7ROO)UHH 86$7ROO)UHH)D[ 1RSDUWRIWKLVSXEOLFDWLRQPD\EHUHSURGXFHG RUWUDQVPLWWHGLQDQ\IRUPRUE\DQ\PHDQV 2IIVHW7\SHVHWWLQJ HOHFWURQLFRUPHFKDQLFDOLQFOXGLQJ SKRWRFRS\UHFRUGLQJRUDQ\LQIRUPDWLRQ VWRUDJHDQGUHWULHYDOV\VWHPZLWKRXWZULWWHQ Open Association of Research Society , Marsh Road, SHUPLVVLRQ Rainham, Essex, London RM13 8EU 7KHRSLQLRQVDQGVWDWHPHQWVPDGHLQWKLV United Kingdom. ERRNDUHWKRVHRIWKHDXWKRUVFRQFHUQHG 8OWUDFXOWXUHKDVQRWYHULILHGDQGQHLWKHU FRQILUPVQRUGHQLHVDQ\RIWKHIRUHJRLQJDQG QRZDUUDQW\RUILWQHVVLVLPSOLHG -
TD-30 Data List
Data List Preset Drum Kit List No. Name Pad pattern No. Name Pad pattern 1 Studio 41 RockGig 2 LA Metal 42 Hard BeBop 3 Swingin’ 43 Rock Solid 4 Burnin’ 44 2nd Line 5 Birch 45 ROBO TAP 6 Nashville 46 SATURATED 7 LoudRock 47 piccolo 8 JJ’s DnB 48 FAT 9 Djembe 49 BigHall 10 Stage 50 CoolGig LOOP 11 RockMaster 51 JazzSes LOOP 12 LoudJazz 52 7/4 Beat LOOP 13 Overhead 53 :neotype: 1SHOT, TAP 14 Looooose 54 FLA>n<GER 1SHOT, TAP 15 Fusion 55 CustomWood 16 Room 56 50s King 17 [RadioMIX] 57 BluesRock 18 R&B 58 2HH House 19 Brushes 59 TechFusion 20 Vision LOOP, TAP 60 BeBop 21 AstroNote 1SHOT 61 Crossover 22 acidfunk 62 Skanky 23 PunkRock 63 RoundBdge 24 OpenMaple 64 Metal\Core 25 70s Rock 65 JazzCombo 26 DrySound 66 Spark! 27 Flat&Shallow 67 80sMachine 28 Rvs!Trashy 68 =cosmic= 29 melodious TAP 69 1985 30 HARD n’BASS TAP 70 TR-808 31 BazzKicker 71 TR-909 32 FatPressed 72 LatinDrums 33 DrumnDubStep 73 Latin 34 ReMix-ulator 74 Brazil 35 Acoutronic 75 Cajon 36 HipHop 76 African 37 90sHouse 77 Ka-Rimba 38 D-N-B LOOP 78 Tabla TAP 39 SuperLoop TAP 79 Asian 40 >>process>>> 80 Orchestra TAP Copyright © 2012 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION. Roland and V-Drums are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries. -
African Drumming in Drum Circles by Robert J
African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
Exploration and Evaluation of the Alternative Wildlife Management Options for the Loliondo Game Controlled Area in Tanzania: Multi-Criteria Analysis
Exploration and Evaluation of the Alternative Wildlife Management Options for the Loliondo Game Controlled Area in Tanzania: Multi-criteria Analysis Gileard Minja [B.Education (Sc), MSc] Thesis submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy in Geography, Environment and Population School of Social Sciences The University of Adelaide October 2020 Table of Contents Table of Contents ...................................................................................................................... i List of Tables ........................................................................................................................... vi List of Figures ......................................................................................................................... vii List of Acronyms and Abbreviations .................................................................................. viii Acknowledgements ................................................................................................................. xi Abstract ................................................................................................................................... xii Chapter 1. Introduction .......................................................................................................... 1 1.1 Research Background and Problem Statement .................................................................... 1 1.2 Research Question and Objectives...................................................................................... -
More Cowbell: a Case Study in System Dynamics for Information Operations Lt Col Will Atkins, USAF Lt Col Donghyung Cho, ROK MAJ Sean Yarroll, USA
AIR & SPACE POWER JOURNAL - FEATURE More Cowbell: A Case Study in System Dynamics for Information Operations LT COL WILL ATKINS, USAF LT COL DONGHYUNG CHO, ROK MAJ SEAN YARROLL, USA Disclaimer: The views and opinions expressed or implied in the Journal are those of the authors and should not be construed as carrying the official sanction of the Department of Defense, Air Force, Air Education and Training Command, Air University, or other agencies or departments of the US government. This article may be reproduced in whole or in part without permission. If it is reproduced, the Air and Space Power Journal requests a courtesy line. To put it simply, we need to worry a lot less about how to communicate our actions and much more about what our actions communicate. —Former Chairman, Joint Chiefs of Staff Adm Michael G. Mullen, August 2009 Introduction In a popular “Saturday Night Live” skit from 2000, despite the cowbell depicted as an afterthought in a fully integrated band, the audience learns a valuable lesson on the importance of “more cowbell.”1 To continue the metaphor, the cowbell has never been and will never be the primary line of effort in the band. But the cow- bell permeates throughout the music, often tying the entire performance together. Such is the fate of information operations in a joint environment, often consid- 20 AIR & SPACE POWER JOURNAL SUMMER 2020 More Cowbell: A Case Study in System Dynamics for Information Operations ered a “second- class citizen as a source of nonlethal effects, an afterthought bolt- on to fires, or worse.”2 On the contrary, information operations is often the capa- bility that binds joint operations together to make it successful. -
Relationship with Percussion Instruments
Multimedia Figure X. Building a Relationship with Percussion Instruments Bill Matney, Kalani Das, & Michael Marcionetti Materials used with permission by Sarsen Publishing and Kalani Das, 2017 Building a relationship with percussion instruments Going somewhere new can be exciting; it might also be a little intimidating or cause some anxiety. If I go to a party where I don’t know anybody except the person who invited me, how do I get to know anyone else? My host will probably be gracious enough to introduce me to others at the party. I will get to know their name, where they are from, and what they commonly do for work and play. In turn, they will get to know the same about me. We may decide to continue our relationship by learning more about each other and doing things together. As music therapy students, we develop relationships with music instruments. We begin by learning instrument names, and by getting to know a little about the instrument. We continue our relationship by learning technique and by playing music with them! Through our experiences and growth, we will be able to help clients develop their own relationships with instruments and music, and therefore be able to 1 strengthen the therapeutic process. Building a relationship with percussion instruments Recognize the Know what the instrument is Know where the Learn about what the instrument by made out of (materials), and instrument instrument is or was common name. its shape. originated traditionally used for. We begin by learning instrument names, and by getting to know a little about the instrument. -
Mitigating Positive Impacts Without Improving Modalities /Regulations in the Project Area, the Perceived Benefits Will Not Be Realized
Appendix C - Lake Natron Soda Ash ESIA C - 56 Mitigating Positive Impacts Without improving modalities /regulations in the project area, the perceived benefits will not be realized. The following initiatives will lead to realization of the mentioned positive impact. Setting by laws and adhering to them. Employment opportunities being awarded to educated people in the local area. Impart the local with technical knowledge through exchange program and on job training The contracts should understood by the communities Part of the Soda Ash should be utilized locally to establish or revitalize local industries. Stakeholders analysis The participants were requested to identify all stakeholders that in one way or another can support the project positively or affect negatively the efficiency of the project. These stakeholders ranged from central government, district authorities, non-governmental organizations, religion groups and communities. The identified stakeholders were clustered. The clustering was based on their interests, expectations and possible responsibilities in the project of soda ash development project. These groups will have several responsibilities in the implementation of the Environmental and Socio-economic Management Plan. The management plan has to be implemented in collaboration of all the stakeholders. Every stakeholder identified has a certain responsibilities during the project cycle. The identified stakeholders are listed on Table C-1 below:- Table C-1: List of Stakeholders Group Stakeholder. Authorities Ministries of -
Report on the State of Pastoralists' Human Rights in Tanzania
REPORT ON THE STATE OF PASTORALISTS’ HUMAN RIGHTS IN TANZANIA: SURVEY OF TEN DISTRICTS OF TANZANIA MAINLAND 2010/2011 [Area Surveyed: Handeni, Kilindi, Bagamoyo, Kibaha, Iringa-Rural, Morogoro, Mvomero, Kilosa, Mbarali and Kiteto Districts] Cover Picture: Maasai warriors dancing at the initiation ceremony of Mr. Kipulelia Kadege’s children in Handeni District, Tanga Region, April 2006. PAICODEO Tanzania Funded By: IWGIA, Denmark 1 REPORT ON THE STATE OF PASTORALISTS’ HUMAN RIGHTS IN TANZANIA: SURVEY OF TEN DISTRICTS OF TANZANIA MAINLAND 2010/2011 [Area Surveyed: Handeni, Kilindi, Bagamoyo, Kibaha, Iringa-Rural, Morogoro-Rural, Mvomero, Kilosa, Mbarali and Kiteto Districts] PARAKUIYO PASTORALISTS INDIGENOUS COMMUNITY DEVELOPMENT ORGANISATION-(PAICODEO) Funded By: IWGIA, Denmark i REPORT ON THE STATE OF PASTORALISTS’ RIGHTS IN TANZANIA: SURVEY OF TEN DISTRICTS OF TANZANIA MAINLAND 2010/2011 Researchers Legal and Development Consultants Limited (LEDECO Advocates) Writer Adv. Clarence KIPOBOTA (Advocate of the High Court) Publisher Parakuiyo Pastoralists Indigenous Community Development Organization © PAICODEO March, 2013 ISBN: 978-9987-9726-1-6 ii TABLE OF CONTENTS ACKNOWLEDGEMENTS ..................................................................................................... vii FOREWORD ........................................................................................................................viii Legal Status and Objectives of PAICODEO ...........................................................viii Vision ......................................................................................................................viii -
2006-07-Catalog.Pdf
2006-2007 A CALIFORNIA COMMUNITY COLLEGE Accredited by The Western Association of Schools and Colleges Accrediting Commission for Community & Junior Colleges 3402 Mendocino Avenue, Santa Rosa, CA 95403 (707) 569-9177, Fax (707) 569-9179 Approved by The Board of Governors of the California Community Colleges The California Department of Education The University of California The California State Universities Approved for The training of U.S. veterans and other eligible persons College of the Canyons 26455 Rockwell Canyon Road, Santa Clarita, CA 91355 (661) 259-7800 http://www.canyons.edu Accuracy Statement The Santa Clarita Community College District and College of the Canyons have made every reasonable effort to determine that everything stated in this catalog is accurate. Courses and programs offered, together with other matters contained herein, are subject to changes without notice by the administration of the College for reasons related to student enrollment, level of financial support or for any other reason at the discretion of the College. The College further reserves the right to add, to amend, or repeal any of the rules, regulations, policies and procedures, consistent with applicable laws. College of the Canyons 1 TABLE OF CONTENTS Officers of the College . 3 Message from the Superintendent-President . 4 Mission Statement . 5 Philosophy . 5 History of the College . 6 Ways this Catalog Can Help You . 8 Academic Calendar . 9 Admission and Registration Procedures . 10 Student Services . 18 College of the Canyons Foundation . 27 Academic Policies and Procedures . 30 Educational Programs . 40 Academic Requirements . 41 Transfer Requirements . 43 Special Programs and Courses . 47 Degree Curricula and Certificate Programs . -
TC 1-19.30 Percussion Techniques
TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction .............................................