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Research Areas and GuidelinesOrganisation of Research and Technology Transfer at AAU

The recent reorganization of Addis Ababa University has revisedboth its structural set-up and its governance system. Researchhas been integrated with technology transfer and upgraded in theorganizational structure to be visible at the highest level inparallel with the teaching-learning process. The followingconstitue the major organizational bodies as regards managementand decision making in research and technology transfer.

The AAU Senate

The Senate of Addis Ababa University is the highest bodyresponsible for assessing and monitoring its academic andresearch programmes to ascertain that they operate in accordancewith the AAU Senate Legislation and the law of the country. TheSenate approves research policies, academic and researchprogrammes, and other activities of the University. The structurethat takes the AAU to preeminence as a resarch university isalready in place qas the following description shows.

The Management Committee

There is a University Management Committee whose primaryadministrative function is to recommend new policies and reviewexisting principles, policies, and regulations of university-widesignificance. The Committee may also serve as an advisory body tothe AAU President on a wide range of issues pertaining to theformulation of policy and broader objectives. The President mayseek advice on matters regarding the long-range planning forfaculty development, design of academic programmes; creation ofresearch programmes; strategic planning of financial and otherresources as well as student affairs and personnel policies.

The Research Council

The Research Council is one of the standing Councils of theSenate. It is formed by the Senate itself to formulate researchpolicies, their implementation guides and monitor theirrealization. This committee is also responsible for overseeingthe operations of the AAU Research and Tehnology Transfer Office.

Administrative Constituents

The Office of Vice President for Research and Technology Transfer(VPRTT) makes sure that AAU operates in line with the regulationsand guidelines of the central federal government regardingresearch activities in the country. In addition, the Office isentrusted with the responsibility to assess current policies andtheir implementation, and recommend new policies according to theprovisions in the University Senate Legislation (2007). The VPRTTis assisted by the Research Director and three associate research

officers responsible for coordinating thematic, small grants andcollaborative research activities in the humanities and socialsciences, basic sciences and professional studies. Each ResearchUnit reports to the Office of the VPRRTT and the latter to thePresident on matters related to the compliance of the Universitywith relevant policies and regulations at the federal level.

Research Unit

A research unit is the primary unit that is a responsiblefunctional AAU unit of any size that initiates, coordinates andundertakes research (disciplinary, multi-disciplinary,interdisciplinary and/or thematic) processes to completion andgives feedbacks on new research ideas initiations and subsequentresearch process improvements by involving students, facultymembers, end users and stakeholders. RUs seize to exist asresearch activities come to completion and new ones sprout withnew thematic researches.

Research units are organized at academic departments, division,college or University-wide where research ideas are generated anddeveloped into research concepts, proposals and projects, and theactual translation of research ideas into experimentation takeplace. Ideas generated, concepts developed and proposals approvedare documented in the databank of the research units. Findingsand knowledge emanating from the research undertakings aredisseminated through appropriate channels or patented orincubated for transfer of technology. The research units makecontinuous follow-up of the disseminated research outcomes withthe purpose of improving its future research activities.

Research Guidelines

The research and technology transfer policy of AAU is supportedand concretized by important guidelines to assist the researchcommunity in their execution of research. In this connection,various relevant guidelines have been developed and are beingused in the management of the different research activities ofthe University. These include relevant guidelines for proposalpreparation, research undertaking and dissemination and

technology transfer and commercialization including the basicethical principles involved with human subjects, in the use ofanimals in research, institutional issues and standards and otherissues relating to intellectual property rights (IPR) have beenaddressed.

Research Proposal Preparation Guidelines

Guidelines for thematic research proposal write-up

PART I: The priority area or goal

1. Title: What is the goal or the national priority areatowards which the whole exercise should focus on andcontribute solutions in the forms of new knowledge andusable technology production? This is then first expressedin the formulation of a thematic research title that takesthe whole research group into a three- to five-yearprotracted action (max. 2 lines).

2. Executive summary: This is an overview of the intentions ofthe project, the actions that lead to the desired outcomes(max. 2 pages).

3. Objectives: The title must be supported with major andspecific objectives to which the planned action willcontribute and aims to achieve. Specific objectives can beset as well in connection to or emanating from the majorones. In other words, these objectives (major and specific)must be achievable with reasonable certainty by the actionthat will be taken during the life of the project (three tofive years) (max. one page).

4. Relevance and the state of knowledge (background): Provide ageneral presentation and analysis of the problem(s) andtheir interrelation at all levels with sufficient, relevantand updated literature review to justify the specificobjectives that will contribute to the resolution of theproblems by the action to be taken in the envisaged years(max. 5 pages).

5. Description of the action and its effectiveness: Thissection describes the action to be taken, theireffectiveness, and the relevance of the participating

partners, collaborators and other stakeholders. Attempt toindicate the contribution of each in the actions to be takenand the effectiveness of each in achieving the desiredobjectives and finally the ultimate goal of the proposal(max. 2 pages).

6. Sustainability: Provide an initial risk analysis andeventual contingency plans for the same. At the minimum,list the risks for each proposed action and suggest possiblemitigation measures (max. 2 pages).

7. Outcomes: Describe the major achievable milestones ordeliverables that the proposal is designed to accomplish.These can be described in the knowledge that can be created(possible number and types of publications: journalarticles, conference papers, modules, public lectures, etc.)and usable technologies that could be achieved during andafter the completion of the project years (max. 1 page).

8. Beneficiaries: Describe the short and long-termbeneficiaries of the action to be taken (max. 1 page).

9. Summary of the research components (from Part II,below): Provide a brief description of the variouscomponents of the proposed thematic research with specialfocus as to how each component fits together in the jigsawand contribute to the achievement of the major objectivesand the deliverables thereof (max. 2 pages).

10. Methodology: Provide an overview of the generalmethodology to indicate the actions of the researchcomponents fit together. Such a description can give anoverview of the general plan of action, whose variouscomponents should be described in detail in the sub-researchproposals (max. 3 pages).

11. Ethical clearance: Wherever human and animal subjectsare used in the action, ethical clearance should be obtainedfrom the appropriate office. The proposal must describe therisks involved, the levels of damages to which the researchsubjects are exposed to and the assurance of mitigations(max. 2 pages).

12. Quality assurance mechanisms: This can be expressed inseminar presentations, annual reports, transparency, bi-annual meetings with stakeholders, end-users and donors,

etc. Furthermore, assurance should be ensured by statisticalverification of the data and the level of partners’interaction using the Internet (max. 1 page).

13. General breakdown of the costs and costs by phases ofeach year: Show the total cost of the proposed project witha breakdown by research components as pieces of the jigsawand the costs per phase of each year so that the annual fundrequirements can be known (max. 3 pages).

14. Logical framework analysis: This condenses the proposaland helps in analyzing the existing situation (the priorityarea) that is being dealt with, establish a logicalhierarchy of the means by which the desired objectives couldbe met, identify the potential risks to achieve theobjectives, establish how outputs (results) and outcomes(new knowledge and usable technologies) can be monitored andevaluated, and even monitor actions during implementation ofoutcomes, where possible (max. 2 pages).

15. References: All materials used in the compilation ofthe proposal should be referenced (max. 3 pages).

16. Declaration of applicants (investigators): Theinvestigators need to take the responsibility of executingthe research as described in the methodology, obey toethical clearance regulations, if applicable, commit toregular monitoring of activities and financial conduct bythe Office of the Vice president for Research and Dean ofthe School of Graduate Studies represented by the Office ofthe Chief Academic Officer for Research, make availablepublications or any product of the research to the sameoffice and build on the development of research culture atAddis Ababa University (max. 1 page).

Research components

1.    Title of sub thematic research (STR): This title emergesfrom the main TR title and should reflect and be part of theaction and outcomes of the exercise (max. 2 lines).

2.    Investigators: List the principal investigator and otherswith their addresses (emails, telephone and postal numbers, namesof institutions, specializations) (max. 1 page).

3.    Collaborating or partner institutions and their roles inthe STR (max. 1 page).

4.    STR summary: Condensed presentations of the intentions,objectives, actions and outcomes of the STR (max. 1 page).

5.    Objectives: The STR should have its specific objectivesthat support the major objectives of the TR. Objectives of STRsneed to add up to the major objectives of the TR and they areexpected to be distinctly different from those of other STR ofthe TR (max. 1 page).

6.    Relevance and the state of knowledge (background): Similarto guidelines given in I.4, above, but should be specific to theparticular STR (max. 3 pages).

7.    Description of the action and its effectiveness: Similar toguidelines given in I.5, above, but should be specific to theparticular STR (max. 2 pages).

8.    Methodology: Details of the methods of the STR should bedescribed. These methods emanating from the TR methodology shouldreconcile with those mentioned in the other STR of the main TRfor cost effectiveness by reducing redundancies, such asfinancial costs, trips, duplication of efforts (differentinvestigators doing the same thing), consumables, etc. (max. 4pages).

9.    Sustainability: Provide an initial risk analysis andeventual contingency plans for the same. At the minimum, list therisks for each proposed action and suggest possible mitigationmeasures (max. 1 pages).

10. Outcomes: Describe the major achievable milestones ordeliverables that the STR proposal is designed to accomplish.These can be described in the knowledge that can be created(possible number and types of publications: journal articles,conference papers, modules, public lectures, etc.) and usabletechnologies that could be achieved during and after thecompletion of the project years (max. 1 page).

11. Beneficiaries: Describe the short and long-term beneficiariesof the action to be taken in the STR (max. 1 page).

12. Ethical clearance: The need for specific ethical clearance ofthe STR should be clearly stated showing the possible risks onhuman or animal subjects and the responsibility of mitigation ofthe damages (max. 2 pages).

13. Quality assurance mechanisms: These should be specific to theSTR but should reconcile with the other STR of the main TR (max.1 page).

14. General breakdown of the costs and costs by phases of eachyear: Costs of the STR should avoid redundant costs of other STRsin the TR. The same total cost of the STR should also bepresented in phases per year (max. 4 pages).

15. Logical framework analysis: Condense the objectives, methods,risks, mitigations, outputs, outcomes, etc. for monitoringprogress of the action (max. 2 pages).

16. References (max. 2 pages).

Annex: Summaries of CVs of investigators and partners should beattached, each condensed to one page only.

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Addis Tribune (Addis Ababa)14 January 2000

Ethiopia: The Production and Marketing of Commercial Music in EthiopiaTagged:

Business East Africa Ethiopia

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By Woube Kassaye

Addis Ababa — Music, as any other forms of goods, is inscribed within a system of commoditization: In other words the

production, distribution, and consumption of music takes place within the context of money and marketing. Because of the growth of technology, entertainment and other factors the demand for sale of pre-recorded tapes, cassettes, discs etc. have increased dramatically. This has become a recent phenomenon in Ethiopia.

Various problems such as violation of copyright, the inability todeposit of produced works with the appropriate government agencies, the production of poor quality albums (content, form, and audibility) exist. Furthermore, since commercialization of music and its products has cultural, social, economic etc. significance, support given to enhance, study, preserve, etc. is scant.

                                         A Preview of Ethiopian Music                          by Zenebe Bekele (Ethnomusicologist)

Ethiopia has all the characteristics of a richcultural mosaic. One reason for this is that thecountry has over 80 languages of which Amharic hasbecome the Lingua franca. As George Galperin put it:Ethiopia deserves recognition as one of the oldestcountries in the World as far as the origins ofmankind are concerned. A large number of acclaimedscholars of varies nationalities have dealtexhaustively with the influence of culturalassimilation within the ethnic framework of theEthiopian people. Ethnic integration in Ethiopia waslargely the result of a long process of assimilation among the peoples inhabiting some of the central regions of the country. A process which saw drastic acceleration at the end of the last century. As Ullendorff pointed out: The Abyssinian plateau has acted as a stage on which this union has produced a handsome race of subtle, sensitive, exceptionally intelligent, mentally alert, extraordinarily eager to learn, and proud people. It is known that early African man who created the megalithic stone cultures of which fascinating evidence can be found today in parts of southern and western Ethiopia.

Take the religion situation in Abyssinia before the middle of the 4th century A.Dor the Dragon King "Zendo" worship where ritualistic song and dance performances accompanied the sacrificial services of the Dragon cult. All thisdisplays the belief and worship of spirits which formed the basis of religion in early man and the earliest musical practices of the African inhabitants of this part of the continent. Beside this the Ethiopian script is the only one which is still possessed by Africans as continental cultural property. The musical notation system of Yared and other indigenous composers are praised inthis regard.

Factors related to the various causes of assimilation such as religion, marriage etc, have largely resulted in the integration of the Ethiopian ethnicgroups. When a way of life undergoes very rapid change during political periods, tradition or folklore of which music is also a part, has an uphill struggle in retaining its original properties. These of course doesn't mean

that music as part of culture remains unaffected by socio-economic change. Butmusical change in a society is seen as very slow when compared with other social traits. Music is affected by historical process- acculturation, transculturation, and interculturation. Birth, weddings and death are accompanied by songs. These types of songs are put in to what we call social categories, while things like fishing, wood cutting, creal grinding etc, are put into the economic section. Songs such as national anthems, military and children´s songs belong to the political section. Songs such as `Woreb´, `Qidassie´ - ecclesiastical manifestations, `Yezar chuhet´ are put in the religious category. In other words, Ethiopian music is defined as music and recreation, music and work, music and politics, music and spiritual belief.

Another feature of Ethiopian traditional music is its forms. These are: -Textual or Vocal music - the music of the Azmaries(Griots).-Mimes or expressive dances - The folklore of different tribes - Anuak, Dorze,Mursi etc.-Instrumental - the imbilta music of Gidole, and Tigre.

In Ethiopian music the earliest style is a personal lament of Ingurguro which has a simple form with small ranges of undulating movement. The second style is Mezmur that has its unique character of singing, performance style, rhythmical restrictions and limitation of contents. The third style is Zefen -the most popular musical style within all the ethnic groups. It differs from the other two in its irregularity of meter - isometric and hetrometric patterns, and its performance style. The fourth syle is Zema - this is only for ecclesiastical songs and hymns. But we find similarity of styles and modalranges both in Sacred and Secular music of Ethiopia. One of the mysteries which has never been cleared up by the studies of different scholars and whichled to confusion in identifying the music of Ethiopia from that of Arabia is its melismatic nature.

Characterstics of song types: 

A) Ingurguro is sung mostly in high falsetto vocal style by female singers anddeep vocal range for male singers. Aster AwoQe´s character of music and Kassa Tessema´s Kirrar music are some examples. We see a combination of musical styles inAster´s music (Ingurguro character + Zefen rhythm) that makes the singer stylist of the modern Ethiopian music but Kassa´s music is a very traditional style of ingurguro.

B) Mezmur is sung in a full voice - woreb songs and songs that are used after sport games, etc, are of this sort.

C) Zefen is sung in a relaxed manner accompanied by a dance, dram, Iskista, Regeda etc.

Qualities of singers: Ethiopian singers are considered to be good if they havea melismatic and loud voice, but if one shouts without wavering tones in the style of Ingurguro and Zefen music - he is called `Chuahi or Gagano´ (vociferous).

If one sings in a deep or low growling voice in Zefen style, he won't deserve the name of Tiru Zefagne or Zemari. The one who is considered to be good or even the best singer is the one who knows a variety of song texts and the singing characteristics of all the musical styles.

Secular music of Ethiopia is classified in the following manner:Mode: 7 modes 

1. Qedamai Silt, ( Tizita)2. Dagmai Silt (Ambasell)3. Salisai Silt (bati)4. Rabai Silt ( multi modes)5. Hamsai Silt ( Anchihoye)6. Sadisai Silt ( Gererso type music)7. Sabai Silt ( Adere´s chromatic type)

Sacred music Mode: 3 modes

1. Geez2. Izil3. Ararrai

Sacred Music Styles: 

1. YeQoma 2. Yebetelhem3. Yeachabir4. Wonchere etc.

Yared´s music composition based on different seasons of the year: 

Zemene Yohanis : i) from Meskerem 1st to Meskerem 26                          ii) from Meskerem 26 to Hidar 6 (Woriha tsige)

Zemene Merawi : i) from Tahisas 29 to Tir 30                         ii) from Yekatit 1st to Miazia 29 (Woriha tsome)

Zemene Kiremit : i) from Meazia 29 to the middle od Sene (Woriha tinsae)

                          ii) from Middle of Sene to Meskerem (Kiremit)

These distributions of yared musical compositions are used according to Juliancalendar. 

Singing Techniques: 

The vocal organ which consists of lungs, larynx, pharunx, nose, mouth as meansof creating a voice are registerd as follows:1. Yederet dimits (chest)2. Yegurero dimits (larynx)3. Yeras dimits (head)

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Music and Immorality Part 1Article | March 22, 2012 - 8:30pm | By Eddy Oboh

 

Music is an integral part of our society today. A plausible explanation of the origin of music seems to be found in the theory of Theophrastus, in which the origin of music is

attributed to the whole range of human emotion. Music on the one hand, is an artistic form of auditory communication incorporatinginstrumental or vocal tones in a structured and continuous mannerin order to create an agreeable (pleasing and harmonious) sounds.Immorality on the other hand, is the quality of not being in accord with standards of right or good conduct. Immorality relates to behaviour which transgresses a given system of morals -- such acts could be sexual, irreverence, or violent amongst other things. To what extent music promotes these categories of immorality will be the focus of this article.

Music cuts across the political, socioeconomic, and religious spectrum of our society. While music has been generally viewed asa source of entertainment and means of livelihood, however, over the years, music has indicated a direct reflection of the pictureof the society. Music has been used to express political views, religious beliefs, and cultural values. The late Fela Anikulapo Kuti, through his lyrics, expressed strong disapproval of Nigerian government policies and injustices. King Sunny Ade uses his music as a means of promoting Yoruba cultural values. Essentially, the proliferation of commercialised music in our society today has contributed to the rate of immorality in our society. Nowadays, music has grown from being a mere entertainment to becoming a competitive profession. Therefore, tosurvive, musicians are compelled to devise all sorts of means to gain competitive advantage. Once a musical idea sells for one musician, competitors replicate this idea to have a share of the dividend therein, without consideration to the negativities such music promotes.

In this day and age there are many factors that affect the development of our youth. Perhaps the most prevalent of these factors is music.  Although music has been around for centuries, the post-modern era has seen a dramatic change in music culture which has made many youth including children, dependent on music.Although the original intent of music was the spread of culture and information, today's music culture can be very detrimental tothe development of children.

It is worth mentioning that lyrics nowadays, particularly from foreign music, focus on sex and rape, doom and gloom, death and suicide, blood and violence. The lyrics often contain satanic rituals and actual oaths to Satan. Many others carry strongly implied messages that promote immorality. Some lyrics are outright satanic. Some, though not mentioning Satan, promote masochism, murder, suicide, sexual deviance, hatred, bigotry, violence, and occult practices. Still others promote drug and alcohol abuse, prostitution, profanity, homosexuality, promiscuity, rebellion, and other immoral behaviours that have been expressed through music for decades.

Most musical lyrics are quite explicit and seem to have become more so over the last decade. There is argument over whether or not kids understand the lyrics, but there is little problem when it comes to understanding video images. Although it is often difficult to make sense of the story line in these videos, there is no escaping images of violence or sexuality. In many public schools in our society, the impact of music is instantly visible.From young men dressing to emulate their favourite rap artist to young women dressing to match the women and dancers featured in the music videos. Music has certainly had an impact on the fashion of many young people; however, the influence does not stop with clothing and jewellery. Rap music for instance, has undoubtedly had its greatest impact on our youth.

Young people look for role models and individuals to pattern their lives after. Unfortunately, the roles models they find in the world of Rap music do not always serve as the best models to follow. Rap music tends to focus on wealth. The wealth is attained by being a thug and participating in such activities as gangs, drug dealing, and larceny. The problem lies in the fact that the get rich quick and easy lifestyle is far too alluring toyoung people, especially in our society which promotes individualism and looking out for number one to begin with. When you multiply the effect by hearing that crime pays, a dangerous pattern begins to emerge. The lure of the rap world is so strong that youth decide to take the path to music riches rather than stay in school.

The trend towards more dangerous lyrics is culminating today in heavy metal and rap music. This presents a real threat to the physical health and emotional well-being of especially vulnerablechildren and adolescents. There’s a direct correlation between rap and heavy metal music and drugs and violence. Today, the trend in heavy metal music is toward more destructive themes. Those who listen to it are getting a much more dismal, darker, bleaker outlook on life than those in the last generation.

To be continued…

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