Comparative phylogeography of parasitic Laelaps mites contribute new insights into the specialist-generalist variation hypothesis (SGVH)

BACKGROUND: The specialist-generalist variation hypothesis (SGVH) in parasites suggests that, due to patchiness in habitat (host availability), specialist species will show more subdivided population structure when compared to generalist species. In addition, since specialist species are more prone to local stochastic extinction events with their hosts, they will show lower levels of intraspecific genetic diversity when compared to more generalist. RESULTS: To test the wider applicability of the SGVH we compared 337 cytochrome oxidase I mitochondrial DNA and 268 nuclear tropomyosin DNA sequenced fragments derived from two co-distributed Laelaps mite species and compared the data to 294 COI mtDNA sequences derived from the respective hosts Rhabdomys dilectus, R. bechuanae, Mastomys coucha and M. natalensis. In support of the SGVH, the generalist L. muricola was characterized by a high mtDNA haplotypic diversity of 0.97 (±0.00) and a low level of population differentiation (mtDNA Fst= 0.56, p < 0.05; nuDNA Fst = 0.33, P < 0.05) while the specialist L. giganteus was overall characterized by a lower haplotypic diversity of 0.77 (±0.03) and comparatively higher levels of population differentiation (mtDNA Fst = 0.87, P < 0.05; nuDNA Fst = 0.48, P < 0.05). When the two specialist L. giganteus lineages, which occur on two different Rhabdomys species, are respectively compared to the generalist parasite, L. muricola, the SGVH is not fully supported. One of the specialist L. giganteus species occurring on R. dilectus shows similar low levels of population differentiation (mtDNA Fst= 0.53, P < 0. 05; nuDNA Fst= 0.12, P < 0.05) than that found for the generalist L. muricola. This finding can be correlated to differences in host dispersal: R. bechuanae populations are characterized by a differentiated mtDNA Fst of 0.79 (P < 0.05) while R. dilectus populations are less structured with a mtDNA Fst= 0.18 (P < 0.05). CONCLUSION: These findings suggest that in ectoparasites, host specificity and the vagility of the host are both important drivers for parasite dispersal. It is proposed that the SGHV hypothesis should also incorporate reference to host dispersal since in our case only the specialist species who occur on less mobile hosts showed more subdivided population structure when compared to generalist species

Annotating Percival Kirby's autobiography concerning his studies at the Royal College of Music in London, 1910-1913

Die annotering van Percival Kirby se outobiografie betreffende sy studie by die Royal College of Music in Londen, 1910-1913: In hierdie artikel word Kirby se uitsprake (aangebied in sy outobiografie, Wits End) aangevul deur die gebruik van materiaal wat in die argief van die Royal College of Music in Londen beskikbaar is. Kirby (1887-1970) het tussen September 1910 en Desember 1913 daar studeer. Hy was 'n keteltromspeler in die College-orkes onder Charles Villiers Stanford en aan 'n baie groot verskeidenheid komposisies en persone blootgestel. Meer agtergrond word verskaf oor party van sy medestudente wat in Wits End genoem word (Aubrey Brain, Leonard Carrodus, James Friskin, Eugene Goossens, Arthur Hedges, Philip Levine, John Snowden en E. Douglas Tayler) en sy onderwysers (Lewis Barrett, Hubert Parry, Frederick J. Read, Stanford en Daniel S. Wood). Kirby het later 'n professor in Musiek aan die Universiteit van die Witwatersrand geword. Hierdeur het hy 'n deurslaggewende rol in die ontwikkeling van sowel klassieke as inheemse musiek in Suid-Afrika gespeel. Keywords: Lewis Barrett; Aubrey Brain; Leonard Carrodus; James Friskin; Eugene Goossens; Arthur Hedges; Percival Kirby; Philip Levine; Hubert Parry; Frederick J. Read; Royal College of Music; John Snowden; Charles Villiers Stanford; E. Douglas Tayler; Universiteit van die Witwatersrand; Daniel S. Wood.South Africa Journal of Cultural History Vol. 21 (2) 2007: pp. 159-18

“I Shall Take The Leap To The Great Beyond…”: Johannes Fagan's Studies And Suicide In London (1916-1920)

“I shall take the leap to the great beyond…”: Johannes Fagan se studie en selfmoord in Londen (1916-1920): Dié artikel poog om die omstandighede van die studie en selfmoord van die Suid-Afrikaanse komponis Johannes Fagan (1898-1920) te rekonstrueer. Ten tyde van sy dood was hy 'n student aan die Royal College of Music (RCM) in Londen waar hy in September 1916, tydens die Eerste Wêreldoorlog, begin studeer het. Fagan sou in daardie tyd baie berigte oor die oorlog en die dood van RCM-studente moes aanhoor. In The R.C.M. Magazine sou hy Gurney se melankoliese gedigte, aangestuur van die front af, kon lees. Hy sou elke termyn se hoogs inspirerende openingstoespraak van die direkteur van die RCM, Hubert Parry, kon hoor. Na twee RCM-termyne het Fagan weens swak gesondheid vir twee jaar na Suid-Afrika teruggekeer. Tydens sy tweede studietydperk was hy 'n komposisiestudent van Vaughan Williams. Fagan is baie swaar getref deur die skielike dood van sy Engelse verloofde aan griep. Sy doodsertifikaat meld dat hy dood in sy bed aangetref is en dat hy sianied gedrink het. 'n Kort artikel hieroor het in The Kensington Express, Notting Hill and West London Examiner van Vrydag 23 Julie 1920 verskyn. Afgesien van sy inskrywingsvorm by die RCM, is die doodsberig wat in The R.C.M. Magazine verskyn het, die enigste plek waar Fagan se naam in die dokumente en publikasies van die RCM aangetref kan word. Keywords: Gideon Fagan, Johannes Fagan, Hubert Parry, Royal College of Music, Suid-Afrikaanse komponiste, selfmoord South Africa Journal of Cultural History Vol. 21 (1) 2007: pp. 72-9

Gideon Fagan’s studies at the Royal College of Music in London, 1922-1926

The South African composer Gideon Fagan (1904-1980) studied at the Royal College of Music (RCM) in London between 1922 and 1926. Fagan followed in the footsteps of his elder brother Johannes (1898-1920) who had committed suicide in 1920 while a student at the RCM. Considering his brother&#8217;s tragic death, beginning his studies must have been emotionally extremely difficult for the 17-year-old Gideon. Gideon Fagan became a well-known composer and the first South African born conductor who gained international recognition. The death of his brother Johannes was not in vain: It is reflected in Gideon&#8217;s revision of some of Johannes&#8217;s works and in the setting of the song Klein Sonneskyn.Key words: Gideon Fagan, Johannes Fagan, Royal College of Music, South African composer

Some South African connections among students at the Stern'sches Conservatorium der Musik in Berlin, 1914-1939

Suid-Afrikaanse verbintenisse onder studente by die Stern'sches Conservatorium der Musik in Berlin, 1914-1939: Die artikel poog om vas te stel of Suid-Afrikaanse studente tussen 1914 en 1939 aan die Stern-Konservatorium in Berlyn studeer het. Hierdie datums word begrens deur die uitbreek van die twee wêreldoorloë. Weens tragiese omstandighede het die persoonlike dokumente van die studente verlore gegaan. Ons besit slegs die onvolledige stel jaarverslae van die Konservatorium. Ten spyte van hierdie belangrike leemtes kon agt Suid-Afrikaners geïdentifiseer word: Elise Anna Büttner (van Suidwes-Afrika, nou Namibië, wat skoolmusiek en viool studeer het), Dora Levy (Kimberley, klavier), Erika Dold (Kaapstad, sang), Clarissa Sale (Benoni, klavier), Käthe Rothe (Grootfontein, sang en klavier), Ernst Stone (Kaapstad, klavier), Elisabeth Myburgh (Zastron, klavier) en Grace de Kock (Pretoria, orkesspel, kamermusiek en hobo). Hierdie inligting toon soortgelyke tendense as dié van vorige stadiums by die Stern-Konservatorium: die studente het van 'n groot verskeidenheid plekke in Suid-Afrika gekom, was gewoonlik vroulik, en het omtrent uitsluitlik klavier as hoofinstrument geneem. Keywords: Berlyn, Elise Anna Büttner, Grace de Kock, Erika Dold, Dora Levy, musiekstudente, Elisabeth Myburgh, Namibië, Käthe Rothe, Clarissa Sale, Suid-Afrika, Stern-Konservatorium, Ernst Stone South Africa Journal of Cultural History Vol. 22 (2) 2008: pp. 107-12

Southern African students at the Music School in Weimar, Germany, 1884-1921

Suider-Afrikaanse studente aan die Hochschule für Musik in Weimar, Duitsland, 1884-1921Die Musiekskool in Weimar, een van die beroemdste musiekstede ter wêreld, is in 1872 gestig. Die skool het geleidelik meer studente, ook uit die buiteland, getrek. Die primêre doel van die navorsing was om vas te stel of Suider-Afrikaanse studente aan die skool studeer het, soos wat dit by die konservatoriums in Amsterdam, Leipzig en Wene, die Royal College of Music in Londen, die Stern-Konservatorium in Berlyn en die Hochschule für Musik in Berlyn die geval was. Verrassenderwys het slegs ses studente met Suider-Afrikaanse verbintenisse tussen 1872 en 1939 aan dieMusiekskool in Weimar gestudeer. Hulle was Maria Adamson (Kaapstad), Myrtha en Ursula Noyce (Heidelberg, Transvaal), Johanna (Joan) van Niekerk (Uitenhage), Thyra Nissen-Lass (Windhoek) en Anna Maria Bach (Windhoek). Geeneen van hulle word in die programme van studentekonserte genoem nie. ’n Mens moet dus aanneem dat hulle standaard nie goed genoeg was om saam met die ander studentein die openbaar op te tree nie. Maar die buitengewone aktiewe musieklewe by die Musiekskool en in die stadjie Weimar sou aan hulle baie ander musiekervarings verskaf het. Hierdie veelsydige agtergrond sou in hulle latere musieklewens ruimskoots tot hulle voordeel gestrek het. Van die ses studente is slegs Joan van Niekerk vandag nog bekend weens haar Die Groot Afrikaanse-Hollandse Liederbundel (1927) en haar werk as liedbegeleier.The Music School in Weimar, one of the most famous music towns of the world, was founded in 1872. It gradually attracted more students and also more foreigners. The first aim of the research was to establish whether there were Southern African students at this school as there were at the conservatories in Amsterdam, Leipzig and Vienna, the Royal College of Music in London, the Stern Conservatorium in Berlin and the Hochschule für Musik in Berlin. Surprisingly, only six students with SouthernAfrican connections were found at the Music School in Weimar between 1872 and 1939. They are Maria Adamson (Cape Town), Myrtha and Ursula Noyce (Heidelberg, Transvaal), Johanna (Joan) van Niekerk (Uitenhage), Thyra Nissen-Lass (Windhoek) and Anna Maria Bach (Windhoek). None of these students was mentioned in the programmes of student concerts. One must assume that they were not of a standard to perform in public with the other students. But the extremely active music life at theMusic School and in the town of Weimar would have provided them with additional musical experience. This versatile background would have been to their advantage as musicians later in their lives. Among the six students it is only Joan van Niekerk who is known today, for her volume of Dutch Afrikaans songs (1927) and her work as an accompanist

Some South African connections among students at the Hochschule f&#252r Musik in Berlin, 1914-1933

Between 1919 and 1933, five South African born students enrolled at the Hochschule: Constance Hoesch (singing), Margarete Schoen (piano), Lucia de Kock (cello), Reinhard Behr (singing), and Joachim Speiser (piano and composition). Three students later came to South Africa: the Jewish German Heinz Hirschland (piano and composition), Maria Neuss (violin, Bohemia), and Helga Bassel (piano, Berlin). South African Journal of Musicology Vol. 23 2003: 55-7