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The New Legon Observer
THE NEW LEGON OBSERVER Our perspectiv~ Com ing out of the ing out of the Energy Crisis Energy Crisis GHANA: THE ELECTRICITY CRISIS OF 2006 &. 2007 Why did it happen and who must be held responsible? Ato Ahwoi and Dr. Joe Oteng-Adjei • 3 00 Budgets Really Matter? Emmanuel Y. Ablo • B " Let there be ." Nana Akua Anyidoho • 11 What Young People Expect from The New Legon Observer Dr Yaw Perbi • 14 King Bruce: A Memorial Essay Vida Autu Vondee • 16 Letters to the Editor Akosombo Dam As we celebrate 50 years of The energy situation in Ghana has been of What was the cause of the latest crisis? Ghana 's Independence ... , significant concern to all in the last two Ghanaians have learned that there were 29 November, 2007 • 20 decades. Energy crisis and associated three major factors behind the problem: power rationing or load shedding were (1) technical difficulties with the Ghana 2008 African Cup first experienced in 1983. Since then, generating units at the Aboadze Thermal of Nations and the there have been several power·rationing Plant and other sources, including the Energy Crisis exercises as a result of difficult power Osagyefo power barge; Kwame Baah-Nuakoh • 21 • • generation conditions. The energy diffi- (2) unavailability of power from Cote culties have been most pronounced in the The Ghana Dictionary d1voire due to difficulties in their power Project last year, beginning in August 2006. system; (Corruption Revisited) Indeed the country experienced electricity (3) low levels of water in the Akosombo Ebow Daniel . 23 load shedding for more than a year. -
Digitized Ghanaian Music
DIGITIZED GHANAIAN MUSIC: EMPOWERING OR IMPERIAL? by ROBERT BLAINE UEHLIN A THESIS Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Science December 2013 THESIS APPROVAL PAGE Student: Robert Blaine Uehlin Title: Digitized Ghanaian Music: Empowering or Imperial? This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Science degree in the School of Journalism and Communication by: Leslie Steeves Chairperson Janet Wasko Member Gabriela Martínez Member and Kimberly Andrews Espy Vice President for Research & Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2013 ii 2013 Robert Blaine Uehlin This work is licensed under a Creative Commons Attribution-NonCommercial- ShareAlike 3.0 License (United States) iii THESIS ABSTRACT Robert Blaine Uehlin Master of Science School of Journalism and Communication December 2013 Title: Digitized Ghanaian Music: Empowering or Imperial? In the wake of the digital revolution, the Musicians’ Union of Ghana has begun a massive campaign to re-establish its membership base, advocate for enforceable copyright policy changes, and introduce the technology necessary to make its members’ music available for sale to digital consumers. However, despite the excitement behind this project, the vision of a professional class of musicians, enabled by the digitization and digital sale of Ghana’s new and existing music, is problematic. Recent revenue reports collected from musicians based in the United States suggest that revenue collected from digital sales may not be the silver bullet Ghanaian musicians hope it will be. -
A Time and a Season, Abroadcaster's Tribute to Highlife King, E. T Mensah
The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. MMANUEL Teteh big band arrangement. Successful though later to be popularised in America by of Africa's fore- this turned out to be in terms of musician- pianist Randy Western. lusidans passed on early ship and financial reward ET still thirsted in August, 1996. By his demise for a popular music type based on Mensah became highly elevated the West African subregion African rhythms, an alternative to the when Ghana attained independence in which he influenced more di- foreign dance music that was prevalent. 1957 under Kwame Nkrumah. Ghana rectly and indeed all of Africa 1947 brought Guy Warren and ET to- extended the territories of highlife firmly to lost yet another giant, an inno- gether again, this time under the leader- Cote d' Ivoire, Guinea, and Sierra Leone. vator, composer, singer, multi- ship of pianist Joe Kelly, thus, the original Highlife was played before heads of state instrumentalist and band Tempos band was born. The band played and African musicians were influenced leader. sophisticated and adventurous Ghana- across different national borders. ET ian songs. The band was a musical suc- Mensah was proclaimed the king of cess but lacked commercial viability. highlife, and his recordings were instant Born in Accra, Ghana where he hits selling beyond West Africa. -
Domestic and Global Water Suppy Issues Hearing Committee on Energy and Natural Resources United States Senate
S. HRG. 112–268 DOMESTIC AND GLOBAL WATER SUPPY ISSUES HEARING BEFORE THE SUBCOMMITTEE ON WATER AND POWER OF THE COMMITTEE ON ENERGY AND NATURAL RESOURCES UNITED STATES SENATE ONE HUNDRED TWELFTH CONGRESS FIRST SESSION TO HEAR TESTIMONY ON OPPORTUNITIES AND CHALLENGES TO ADDRESS DOMESTIC AND GLOBAL WATER SUPPLY ISSUES DECEMBER 8, 2011 ( Printed for the use of the Committee on Energy and Natural Resources U.S. GOVERNMENT PRINTING OFFICE 72–894 PDF WASHINGTON : 2012 For sale by the Superintendent of Documents, U.S. Government Printing Office Internet: bookstore.gpo.gov Phone: toll free (866) 512–1800; DC area (202) 512–1800 Fax: (202) 512–2104 Mail: Stop IDCC, Washington, DC 20402–0001 COMMITTEE ON ENERGY AND NATURAL RESOURCES JEFF BINGAMAN, New Mexico, Chairman RON WYDEN, Oregon LISA MURKOWSKI, Alaska TIM JOHNSON, South Dakota JOHN BARRASSO, Wyoming MARY L. LANDRIEU, Louisiana JAMES E. RISCH, Idaho MARIA CANTWELL, Washington MIKE LEE, Utah BERNARD SANDERS, Vermont RAND PAUL, Kentucky DEBBIE STABENOW, Michigan DANIEL COATS, Indiana MARK UDALL, Colorado ROB PORTMAN, Ohio JEANNE SHAHEEN, New Hampshire JOHN HOEVEN, North Dakota AL FRANKEN, Minnesota DEAN HELLER, Nevada JOE MANCHIN, III, West Virginia BOB CORKER, Tennessee CHRISTOPHER A. COONS, Delaware ROBERT M. SIMON, Staff Director SAM E. FOWLER, Chief Counsel MCKIE CAMPBELL, Republican Staff Director KAREN K. BILLUPS, Republican Chief Counsel SUBCOMMITTEE ON WATER AND POWER JEANNE SHAHEEN, New Hampshire, Chairman RON WYDEN, Oregon MIKE LEE, Utah, Ranking TIM JOHNSON, South Dakota JAMES E. RISCH, Idaho MARIA CANTWELL, Washington DANIEL COATS, Indiana BERNARD SANDERS, Vermont JOHN HOEVEN, North Dakota DEBBIE STABENOW, Michigan DEAN HELLER, Nevada JOE MANCHIN, III, West Virginia BOB CORKER, Tennessee JEFF BINGAMAN and LISA MURKOWSKI are Ex Officio Members of the Subcommittee (II) C O N T E N T S STATEMENTS Page Castle, Anne, Assistant Secretary of Water and Science, Department of the Interior ................................................................................................................. -
Ghana and the World Music Boom
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Ghana and the World Music Boom John Collins School of Performing Arts, University of Ghana From the 1950s to the early 1970s Ghana led the way in West Africa with its popular highlife and Afro-rock music and its viable recording and music production industry. However, things began to decline from the late 1970s due to a corrupt military government, followed by two coups, several years of night curfew and the imposition of massive import duties on musical instruments. Into the music vacuum came Ghanaian gospel-music (as the churches were not taxed) and hi- tech drum-box and synthesizer forms of local music (burgher highlife and hiplife) that did away with large expensive bands. By the mid-1980s the live commercial music and entertainment scene was almost at a stand-still, exactly at a time when there was a growing international interest in African music. However, the Ghanaian non-commercial gospel-music or computerized forms of music that appeared in the 1980s and 1990s were too hi-tech for the psychology of the World Music fans, who demanded “authentic” African sounds. Although Ghana was initially unable to benefit much from the early World Music boom, there have, however, been a number of important positive spin-offs from this international phenomenon. Some of these directly benefit Ghanaian musicians. Today hundreds of foreign musicians, students and World Music fans are coming to study African performance at Ghana’s universities or in the private drum and dance schools as well as beach resort and folkloric groups that have sprung up since the late 1980s. -
Ghanaian Dance Band Highlife Music Composer and Arranger
International Journal of Humanities and Social Science Vol. 10 • No. 1 • January 2020 doi:10.30845/ijhss.v10n1p11 Remembering Kwadwo Donkoh and Stan Plange: Ghanaian Dance Band Highlife Music Composer and Arranger Mark Millas Coffie Edwin E. A. Ferguson Stephen Ayesu Nyanteh Department of Music Education University of Education, Winneba Ghana Abstract The purpose of this study is to reflect on the life, music and contributions of Kwadwo Donkoh and Stan Plange to the development of Ghanaian dance band highlife music. It also examines the compositional devices and arranging techniques employed in one of their popular highlife songs, Wobe kume (you will kill me) as a contribution to music theory. Employing document review and interview for data collection, the paper reveals that both Kwadwo Donkoh and Stan Plange composed and arranged for several bands. A formal analysis of the song, Wobe kume also reveals manipulation of sequential interlocking patterns, repetitions, variations and transposition in the vocal melody, while the arrangement employs a technique of ‘double theme brass and vocal alternation’. The study concludes that the song is a contribution to music theory; and therefore, recommends the use of Ghanaian dance band highlife songs for the teaching of composition and ‘big band’ arranging techniques, and musical form and analysis in music institutions. Keywords: arranger; composer; dance band; highlife; songwriter; wobe kume 1. Introduction Kwadwo Donkoh and Stan Plange, arguably two of Ghana's prolific dance band highlife composers and arrangers chalked successes with several bands in Ghana and Nigeria; most notably are Stargazers, Ogyatanaa, Broadway and Uhuru Dance Bands from Ghana, and E.C. -
Saxophone Solos in Ghanaian Highlife Music: an Analytical Study
University of Ghana http://ugspace.ug.edu.gh SAXOPHONE SOLOS IN GHANAIAN HIGHLIFE MUSIC: AN ANALYTICAL STUDY OF TEMPOS AND THE RAMBLERS INTERNATIONAL BANDS BY STEPHEN AIDOO (10234990) THIS THESIS IS SUBMITTED TO THE UNIVERSITY OF GHANA, LEGON IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE AWARD OF MPHIL MUSIC DEGREE JULY, 2014 University of Ghana http://ugspace.ug.edu.gh DECLARATION This thesis is my own work produced from research undertaken under supervision. Wherever sources have been quoted, full acknowledgement has been made. ……………………………………… ………………………………….. STEPHEN AIDOO DATE (10234990) …………………………………… ……………………………………. PROF. JOHN COLLINS DATE (SUPERVISORS) ……………………………………… ……….……………………………… DR. COLTER HARPPER DATE (CO-SUPERVISORS) i University of Ghana http://ugspace.ug.edu.gh ABSTRACT Highlife dance band music is one genre of popular music in Ghana that makes use of both Western and African idioms. This makes highlife music to be enjoyed by both Africans and Westerners. One unique characteristic of this type of highlife music is improvisation. Other instruments such as the trumpet and guitar perform this style but the saxophone instrument, is preferred above all the others. This study aims at recording and compiling selected saxophone solos by the Tempos and Ramblers highlife dance bands through live and prerecorded media. The saxophone solos will then be transcribed to and studied more critically. Analysis will be to identify the styles and techniques that are used such as vibration and pitch bending. The study will also examine other musical elements such as melody, scale, rhythm, pitch, articulation, phrasing, dynamics and tonal organization. Since it is a well-known fact that Ghanaian dance band musicians do not read music from scores I shall find out possible traces of variations, copious repetitions and similarities of rhythmic patterns in the same music performed on different dates and conditions as well as locations, stock progressions and other points of interest when Western and African idioms are combined. -
TABLE of CONTENTS Ivy Tech Community College Bloomington Campus Board of Trustees Meeting September 25, 2018
TABLE OF CONTENTS Ivy Tech Community College Bloomington Campus Board of Trustees Meeting September 25, 2018 Agenda ................................................................................................................................................... 2 Minutes – Regular Board Meeting, May 22, 2018 ................................................................................ 3 Resolution Number BL-2018-2, Amendment to Campus Board By-Laws to Accommodate Changes to the Indiana Code by HEA 1002-2018 Operating Budget ................................................... 8 Resolution Number BL-2018-3, Approval for the Bloomington Campus Fiscal Year 2018-19 Operating Budget ................................................................................................................................. 15 Academic Affairs Report ..................................................................................................................... 17 Administrative Services Report ........................................................................................................... 29 Human Resources .......................................................................................................................... 29 Administrative & Academic Services ........................................................................................... 31 Computer & Technology Services ................................................................................................. 32 Facilities ........................................................................................................................................ -
Copyright by Steven James Salm 2003
Copyright by Steven James Salm 2003 The Dissertation Committee for Steven James Salm certifies that this is the approved version of the following dissertation: “THE BUKOM BOYS” Subcultures and Identity Transformation in Accra, Ghana Committee: _________________________________ Oloruntoyin Falola, Supervisor _________________________________ John Lamphear _________________________________ Christopher Adejumo _________________________________ George Forgie _________________________________ John Collins “THE BUKOM BOYS” Subcultures and Identity Transformation in Accra, Ghana by Steven James Salm, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2003 To Andrews Kortei Attuquaye-Fio (a.k.a. Frankie Laine), a friend and confidant who showed me the vitality of youth and the wisdom of age. ACKNOWLEDGMENTS This project is much more than the sum of the words on the pages before you. It is the culmination of interactive processes with countless individuals, cultural mediums, and texts. More so than any other aspect, I have benefited greatly from the encouragement, criticisms, and curiosities of many people. To each and everyone, I would like to express my gratitude for providing support in whatever way you could. You are all part of this work. Many people in Austin, Texas have inspired me during the last few years. I was fortunate to arrive at the University of Texas at a time when the African history department began to expand. The presence of Jacqueline Woodfork, Saheed Adejumobi, Joel Tishken, and Christian Jennings allowed for exciting dialogue and the exploration of new areas of intellectual growth. -
The Trinity Reporter, Spring 2020
Reporter 2020 SPRING Trinity The The WestonianThe Trinity Magazine Reporter SPRINGSPRING 2020 2014 CONTENTS FEATURES 10 Women at the Summit: 50 Years of Coeducation at Trinity College 50 for the Next 50 Taking Trinity into the future 20 In and of Hartford Opportunities for students abound 24 ‘Mr. Trinity himself’ Patriarch Jerry Hansen ’51 leads the way in his dedication to the college 30 Finding solutions to real-world problems Seniors in engineering, computer science tackle research, design process 34 The Trinity College Chapel Historic space continues to be a key part of campus life ON THE COVER The names of the 50 for the Next 50 honorees—50 women recognized for their potential to have a lasting impact on the future of the college— literally make up the building blocks of this illustration of part of the iconic Long Walk. The 50 for the Next 50 initiative was part of the three-semester-long Women at the Summit celebration that marked 50 years of coeducation at Trinity. For more on the honorees, please see page 10. ILLUSTRATION: JOHN MAVROUDIS The editor welcomes your questions and comments: Sonya Adams, Office of Communications, Trinity College, 300 Summit Street, Hartford, CT 06106, [email protected], or 860-297-2143. DEPARTMENTS 02 LETTERS 03 ALONG THE WALK 06 VOLUNTEER SPOTLIGHT 07 AROUND HARTFORD 08 TRINITY TREASURE 41 CLASS NOTES 71 IN MEMORY 78 ALUMNI EVENTS 80 ENDNOTE THE TRINITY REPORTER Vol. 50, No. 3, Spring 2020 Published by the Office of Communications, Trinity College, Hartford, CT 06106. Postage paid at Hartford, Connecticut, and additional mailing offices. -
A Study of the Music Sector in Ghana Questionnaire for Traditional Folkloric Groups
1 Contents 1 Executive Summary 11 1.1 Introduction 11 1.2 Country Profile 11 1.3 The Creative Industries in Ghana 11 1.4 Music Sector Overview 12 1.5 Market Characteristics 12 1.6 Regional and Local Sector Dynamics 13 1.7 Regulatory Framework 13 1.8 Economic Value Analysis 13 1.9 Social Contribution 15 1.10 Industry Infrastructure 16 1.11 International Dynamics 17 1.12 Linkage with other Sectors 17 1.13 SWOT Analysis 17 1.14 Recommendations 18 19 1.15 Conclusion 19 2 Introduction 20 2.1 Project Background 20 2.2 Objectives 20 2.3 Scope of Work 20 2.4 Justification 21 2.5 Methodology 22 2.5.1 Sources of Data 22 2.5.2 Sampling Techniques 24 2.6 Limitations 24 2.7 Conclusion 24 3 Country Profile 26 3.1 Introduction 26 3.2 Political Environment 26 3.3 Economic Environment 27 3.4 Social Dynamics 29 3.5 Technological Factors 31 3.6 Country Outlook 31 3.7 Conclusion 32 4 The Creative Industry in Ghana 33 4.1 Overview 33 4.2 Characteristics of the Creative Industry in Ghana 34 2 4.2.1 Overview 34 4.3 Conclusion 36 5 Music Sector Overview 37 5.1 Historical Perspective 37 5.1.1 Overview 37 5.1.2 Music Genres 37 5.2 Industry Oversight 42 5.3 Professional Organizations 45 5.3.1 Creators Associations 45 5.3.2 Producers Associations 46 5.3.3 Collective Management Organization (CMO) 47 5.4 Current State of the Sector – Challenges and Opportunities 48 5.5 Porter‘s Five Forces Model 48 5.6 Conclusion 49 6 Market Characteristics 51 6.1 Overview of Music Value Chain 51 6.1.1 Typical Music Value Chain around the World 51 6.1.2 Music Value Chain in Ghana