Browse Archive - 4416 results
Aiba mange kimiango (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR126 , 3 mins
This Buudu tribe is said to have come across the Savannah along the northern edge of the great tropical Ituri forest from the Ruwenzori mountains in the East to this present locality in North Central Congo. On their way they are said to have become much influenced by the Mbuti Pygmies, several of their songs and d...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR126 , 3 mins
Description
This Buudu tribe is said to have come across the Savannah along the northern edge of the great tropical Ituri forest from the Ruwenzori mountains in the East to this present locality in North Central Congo. On their way they are said to have become much influenced by the Mbuti Pygmies, several of their songs and dances closely resembling those of the dwarfs. Their pet name for the pygmies is Batikitki.
Date Written / Recorded
1952
Field of Study
Anthropology
Content Type
Field recording (raw)
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Ajuba (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR129 (1952) , 1 page(s)
Away from the Congo river itself it appears that the art of sending drum messages deteriorates into the sending of signals only, the former being based upon the tonality of the individual words comprising the sentences transmitted, the latter comprising pre-set phrases and rhythms to which certain significance is...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR129 (1952) , 1 page(s)
Description
Away from the Congo river itself it appears that the art of sending drum messages deteriorates into the sending of signals only, the former being based upon the tonality of the individual words comprising the sentences transmitted, the latter comprising pre-set phrases and rhythms to which certain significance is attached. The signals may have arisen from messages in the past but the skill of 'talking' on the drums has almost if not entirely vani...
Away from the Congo river itself it appears that the art of sending drum messages deteriorates into the sending of signals only, the former being based upon the tonality of the individual words comprising the sentences transmitted, the latter comprising pre-set phrases and rhythms to which certain significance is attached. The signals may have arisen from messages in the past but the skill of 'talking' on the drums has almost if not entirely vanished among the Mangbele. The significance of the 'Tamatsaro' signal was not explained.
Show more
Show less
Date Written / Recorded
1952
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Ajuba (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR129 , 3 mins
An attractive dance by young soldiers whose tribe has the local reputation of being amongst the most hamdsome in the Congo. Their home district is at the most northerly part of the great bend in the Congo river where it is already several miles wide. (Copied from disc)
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR129 , 3 mins
Description
An attractive dance by young soldiers whose tribe has the local reputation of being amongst the most hamdsome in the Congo. Their home district is at the most northerly part of the great bend in the Congo river where it is already several miles wide. (Copied from disc)
Date Written / Recorded
1952
Field of Study
World Music
Content Type
Field recording (raw)
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
Tracks
×
Akaizari mbanda yasila (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR038 (1957) , 1 page(s)
These songs belong to "umgubo" or, in Zulu, "ihubo" type of regimental singing. They were sung by the Mpezeni regiment, in 1920. The last of the age groups to be called officially a regiment by the Ngoni tribe.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR038 (1957) , 1 page(s)
Description
These songs belong to "umgubo" or, in Zulu, "ihubo" type of regimental singing. They were sung by the Mpezeni regiment, in 1920. The last of the age groups to be called officially a regiment by the Ngoni tribe.
Date Written / Recorded
1957
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Akaizari mbanda yasila (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR038 , 3 mins
This dance song is sung to wind up the evening and to show the dancing is at an end.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR038 , 3 mins
Description
This dance song is sung to wind up the evening and to show the dancing is at an end.
Date Written / Recorded
1957
Field of Study
World Music
Content Type
Field recording (raw)
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Akakalu Babini (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR126 (1952) , 1 page(s)
The large Igogo deja was carved out of a single log and shaped like an antelope. It was 43" tall, the body 52" long, the tail 28 1/2" and the head 33". It was 42 1/2" wide, a total of 9 foot 5 1/2" long from tip to tail. The four legs were 10" tall carrying the triangular sectioned body, sounding two notes -- 56...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR126 (1952) , 1 page(s)
Description
The large Igogo deja was carved out of a single log and shaped like an antelope. It was 43" tall, the body 52" long, the tail 28 1/2" and the head 33". It was 42 1/2" wide, a total of 9 foot 5 1/2" long from tip to tail. The four legs were 10" tall carrying the triangular sectioned body, sounding two notes -- 56 and 48 vs. one from either flank. The wooden drums are in reality wooden gongs from which two or more tones can be produced according...
The large Igogo deja was carved out of a single log and shaped like an antelope. It was 43" tall, the body 52" long, the tail 28 1/2" and the head 33". It was 42 1/2" wide, a total of 9 foot 5 1/2" long from tip to tail. The four legs were 10" tall carrying the triangular sectioned body, sounding two notes -- 56 and 48 vs. one from either flank. The wooden drums are in reality wooden gongs from which two or more tones can be produced according to the position of the blow. The two sides of the slit usually record two distinct tones when hit near the mouth of the slit. Blows in this position appear to be those usually employed when sending messages or signals. For dancing, lighter tones can be produced by striking the upper ends of the drum, and deeper notes by hitting low down on the body of the drum nearer the waist. This recording is a part only of the dance already in progress.
Show more
Show less
Date Written / Recorded
1952
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Song, Dance, Drum
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Akakalu Babini (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR126 , 5 mins
The large Igogo deja was carved out of a single log and shaped like an antelope. It was 43" tall, the body 52" long, the tail 28 1/2" and the head 33". It was 42 1/2" wide, a total of 9 foot 5 1/2" long from tip to tail. The four legs were 10" tall carrying the triangular sectioned body, sounding two notes -- 56...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR126 , 5 mins
Description
The large Igogo deja was carved out of a single log and shaped like an antelope. It was 43" tall, the body 52" long, the tail 28 1/2" and the head 33". It was 42 1/2" wide, a total of 9 foot 5 1/2" long from tip to tail. The four legs were 10" tall carrying the triangular sectioned body, sounding two notes -- 56 and 48 vs. one from either flank. The wooden drums are in reality wooden gongs from which two or more tones can be produced according...
The large Igogo deja was carved out of a single log and shaped like an antelope. It was 43" tall, the body 52" long, the tail 28 1/2" and the head 33". It was 42 1/2" wide, a total of 9 foot 5 1/2" long from tip to tail. The four legs were 10" tall carrying the triangular sectioned body, sounding two notes -- 56 and 48 vs. one from either flank. The wooden drums are in reality wooden gongs from which two or more tones can be produced according to the position of the blow. The two sides of the slit usually record two distinct tones when hit near the mouth of the slit. Blows in this position appear to be those usually employed when sending messages or signals. For dancing, lighter tones can be produced by striking the upper ends of the drum, and deeper notes by hitting low down on the body of the drum nearer the waist. This recording is a part only of the dance already in progress.
Show more
Show less
Date Written / Recorded
1952
Field of Study
Anthropology
Content Type
Field recording (raw)
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
Tracks
×
Akamkungulu kagaya (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR149 (1950) , 2 page(s)
Why are you angry with me, You are not my father, You are not my brother, Leave me alone.' The drums only appear towards the end of the item.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR149 (1950) , 2 page(s)
Description
Why are you angry with me, You are not my father, You are not my brother, Leave me alone.' The drums only appear towards the end of the item.
Date Written / Recorded
1950
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Narrative Songs, Drum, Bell
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Akamkungulu kagaya (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR149 , 3 mins
Why are you angry with me, You are not my father, You are not my brother, Leave me alone.' The drums only appear towards the end of the item.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR149 , 3 mins
Description
Why are you angry with me, You are not my father, You are not my brother, Leave me alone.' The drums only appear towards the end of the item.
Date Written / Recorded
1950
Field of Study
Anthropology
Content Type
Field recording (raw)
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Akasozi bamunanika (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR136 (1950) , 1 page(s)
The new Lubili (palace of the Kabaka, King of Bugunda) is very beautiful. The Kabaka is good and does his duties well -- We like him -- and also his office bearers.' This is the gist of the song.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR136 (1950) , 1 page(s)
Description
The new Lubili (palace of the Kabaka, King of Bugunda) is very beautiful. The Kabaka is good and does his duties well -- We like him -- and also his office bearers.' This is the gist of the song.
Date Written / Recorded
1950
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Narrative Songs, Bowl Lyre, Endongo, Lute, Ndingidi, Drum, Ntenga
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×