Thesis (Ph. D. (History))--Rhodes University, 2006.

In 1981 the apartheid military initiated a chemical and biological warfare (CBW) programme (code-named Project Coast). The programme, terminated in 1993, was aimed at developing novel irritating and incapacitating agents for internal and external use, covert assassination weapons for use against apartheid opponents, and defensive equipment for use by South African Defence Force (SADF) troops in Angola. The CBW programme was driven by a single individual, Dr Wouter Basson, who reported to a military management committee (the Co-ordinating Management Committee) which comprised a select group of high ranking officers. Practical and financial oversight of the programme was weak which allowed both for the abuse of programme funds and for senior military officers to deny knowledge of aspects of the programme. The biological component of Project Coast was conducted in violation of the commitments of the South African government to the Biological and Toxins Weapons Convention (BTWC). While the state’s commitment to the BTWC was one of the factors considered when initiating the programme, it was not a sufficient constraint to prevent the development of the biological weapons programme, but rather influenced its structure such that the programme could avoid national and international detection. Despite efforts to conceal the military front companies where the chemical and biological warfare (CBW) research and development was undertaken, evidence presented in this thesis shows that the United States had sufficient information about the programme to have been aware of its existence. Yet, it was only in 1993, on the eve of the democratic election in South Africa, that any attempt was made by the US administration to pressure the government to terminate the programme. This thesis considers the factors which influenced the decision to develop Project Coast; the structure and nature of the programme; the motivations of scientists to become involved in the programme and remain involved; the use of chemical and biological agents against opponents of the state, and the factors which influenced the termination of the programme on the eve of the first democratic elections in 1994. It also considers the nature and exent of international support, both tacit and overt, for the programme and argues that the failure of Western nations to call for the termination of the programme before the early 1990s was a function of political expediency and indicates a significant weakness in the ability of international agreements to constrain the development of such programmes.

This thesis is an examination of the relationship between the institutional and practical workings of the late Apartheid state's Chemical and Biological Weapons Research Programme, code-named Project Coast. It is written against the background of the changing nature of the South African state in that period, and presents a partial picture of that change. The greatest part of the thesis, however, is a history of the Research Programme itself. The Programme's institutional structure was developed around the charismatic figure of Dr Wouter Basson: following Weberian arguments, it is clear that his charisma was used, within the bureaucratic structure of the Programme, to legitimate the scientific research projects undertaken. Two of these projects are examined in the body of this thesis: the first of these is an attempt to develop a new form of tear gas, the second is the attempt to develop a new form of contraceptive. The animating ideologies of these research projects are compared to each other, and to the supposedly hegemonic ideologies of the changing state, revealing discrepancies between these grand structures and their local workings. The importance of Basson's charismatic authority is emphasised by the rapid dissolution of Project Coast following his withdrawal from his leadership position at the end of the 1980s. By the end of the thesis, then, it seems clear that, within the legitimating aura of Basson's authority, the scientists at Project Coast developed a set of racial and political ideologies that more little to no substantive relationship to the seemingly hegemonic ideologies of the late Apartheid state, of which Project Coast was an organ. / Thesis (M.A.)-University of Natal, Durban, 2002.

The 20th century French repertoire remains some of the most fruitful and varied music written for our instrument. But in fact it was written for another instrument entirely. While these two instruments share the exact same role when it comes to orchestral playing and every other practical sense - under the hood the instruments could not be further apart in terms of mechanics. So how is it that the bassoonist should go about tackling the intricacies of the French Repertoire - which as a whole offer very challenging pieces - when another layer of intricacies is added on top in the fact that it was all written for an entirely different instrument. Through careful and methodical changes to technique and exercises it is possible to alleviate many of the major problems so that they become more manageable. The hope of this paper is that others shall continue their own research into understanding and overcoming some of the shortcomings and complications related to our instrument in hopes that we may continue to build on our established technical and musical foundations.   Keywords: basson, bassoon, alternative fingerings, complications of performance, double tonguing, reed style

Ce mémoire de maîtrise en composition musicale présente cinq oeuvres composées entre l'automne 1988 et le printemps 1992. L'oeuvre pour basson ou saxophone ténor et percussions Duo concertant est conçue sous forme de dialogue et demande une fine complicité de la part des Interprètes. Dorléac pour bols, cuivres, piano et percussions, intègre à la fois une forme rondo et une forme d'arche dont le point culminant se situe aux deux tiers de l'oeuvre. Relevés no.7. pour quatuor à cordes, est Inspiré des sept parties d'un poème de Guillevic Etier. L'oeuvre Séquences voilées pour quatuor à cordes et orchestre se présente sous la forme de succession de séquences reliées entre elles par un voile harmonique. Double éclat, pour hautbois d'amour/cor anglais, piano/ célesta, orchestre à cordes et percussions, exploite à la limite les possibilités du hautbois d'amour et du cor anglais (soliste). / Québec Université Laval, Bibliothèque 2014