Browse Titles - 137 results
1-4-84 Information Sheets
of Archives and Research Center for Ethnomusicology. American Institute of Indian Studies, in Nazir Ali Jairazbhoy Collection, N63. Fieldtrip to survey varieties of Indian music in 1963-1964., 1:4:84 (New Delhi, Delhi State) (1963) , 13 page(s)
Instrumental prelude, Nat and Qawwali, Hindustani classical music, tabla instrumental piece, Flute tunes, Church Choir, Christmas Carols and Malayalam songs recorded in Kerala.
Sample
of Archives and Research Center for Ethnomusicology. American Institute of Indian Studies, in Nazir Ali Jairazbhoy Collection, N63. Fieldtrip to survey varieties of Indian music in 1963-1964., 1:4:84 (New Delhi, Delhi State) (1963) , 13 page(s)
Description
Instrumental prelude, Nat and Qawwali, Hindustani classical music, tabla instrumental piece, Flute tunes, Church Choir, Christmas Carols and Malayalam songs recorded in Kerala.
Date Written / Recorded
1963
Field of Study
World Music
Content Type
Field notes
Contributor
Nazir Ali Jairazbhoy, 1927-2009
Author / Creator
Nazir Ali Jairazbhoy, 1927-2009
Topic / Theme
Qawwali, Rag, Carol, Praise Song, Sacred, Indian - Hindustani Classical, Tabla, Flute
Copyright Message
Material sourced from the Nazir Ali Jairazbhoy and Amy Catlin-Jairazbhoy Collection, Archive and Research Center for Ethnomusicology. Copyright Amy Catlin-Jairazbhoy.
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1-41-84 Information Sheets
of Archives and Research Center for Ethnomusicology. American Institute of Indian Studies, in Nazir Ali Jairazbhoy Collection, N63. Fieldtrip to survey varieties of Indian music in 1963-1964., 1:41:84 (New Delhi, Delhi State) (1963) , 2 page(s)
ghazal, Qawwali(?) and Hindustani classical music-instrumental- Sarod played by Shyam Ganguli. It also includes Sufi devotional music-Na't and ghazal
Sample
of Archives and Research Center for Ethnomusicology. American Institute of Indian Studies, in Nazir Ali Jairazbhoy Collection, N63. Fieldtrip to survey varieties of Indian music in 1963-1964., 1:41:84 (New Delhi, Delhi State) (1963) , 2 page(s)
Description
ghazal, Qawwali(?) and Hindustani classical music-instrumental- Sarod played by Shyam Ganguli. It also includes Sufi devotional music-Na't and ghazal
Date Written / Recorded
1963
Field of Study
World Music
Content Type
Field notes
Contributor
Nazir Ali Jairazbhoy, 1927-2009
Author / Creator
Nazir Ali Jairazbhoy, 1927-2009
Topic / Theme
Indian - Hindustani Classical, Qawwali, Indian - Ghazal, Khyal, Rag, Poetry, Praise Song, Sarod
Copyright Message
Material sourced from the Nazir Ali Jairazbhoy and Amy Catlin-Jairazbhoy Collection, Archive and Research Center for Ethnomusicology. Copyright Amy Catlin-Jairazbhoy.
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1-43-84 Information Sheets - Not Available in Collection
of Archives and Research Center for Ethnomusicology. American Institute of Indian Studies, in Nazir Ali Jairazbhoy Collection, N63. Fieldtrip to survey varieties of Indian music in 1963-1964., 1:43:84 (New Delhi, Delhi State) (1964) , 1 page(s)
This includes Naat and other related genres of devotional music, Qawwali in praise of Moinuddin Chisti and ghazals.
Sample
of Archives and Research Center for Ethnomusicology. American Institute of Indian Studies, in Nazir Ali Jairazbhoy Collection, N63. Fieldtrip to survey varieties of Indian music in 1963-1964., 1:43:84 (New Delhi, Delhi State) (1964) , 1 page(s)
Description
This includes Naat and other related genres of devotional music, Qawwali in praise of Moinuddin Chisti and ghazals.
Date Written / Recorded
1964
Field of Study
World Music
Content Type
Field notes
Contributor
Nazir Ali Jairazbhoy, 1927-2009
Author / Creator
Nazir Ali Jairazbhoy, 1927-2009
Topic / Theme
Qawwali, Sufi, Indian - Hindi Devotional, Poetry, Indian - Ghazal, Praise Song, Love Song
Copyright Message
Material sourced from the Nazir Ali Jairazbhoy and Amy Catlin-Jairazbhoy Collection, Archive and Research Center for Ethnomusicology. Copyright Amy Catlin-Jairazbhoy.
×
1-44-84 Information Sheets
of Archives and Research Center for Ethnomusicology. American Institute of Indian Studies, in Nazir Ali Jairazbhoy Collection, N63. Fieldtrip to survey varieties of Indian music in 1963-1964., 1:44:84 (New Delhi, Delhi State) (1964) , 2 page(s)
Sindhi devotional music recorded at a Satsang(devotional gathering),including a Praise song, bhajan, songs of Shah Latif, Sindhi folk songs, Jhule Lal, Sassi Punnu, Doha, Kabir bhajan and a wedding song, with narrations and introductions to the songs.
Sample
of Archives and Research Center for Ethnomusicology. American Institute of Indian Studies, in Nazir Ali Jairazbhoy Collection, N63. Fieldtrip to survey varieties of Indian music in 1963-1964., 1:44:84 (New Delhi, Delhi State) (1964) , 2 page(s)
Description
Sindhi devotional music recorded at a Satsang(devotional gathering),including a Praise song, bhajan, songs of Shah Latif, Sindhi folk songs, Jhule Lal, Sassi Punnu, Doha, Kabir bhajan and a wedding song, with narrations and introductions to the songs.
Date Written / Recorded
1964
Field of Study
World Music
Content Type
Field notes
Contributor
Nazir Ali Jairazbhoy, 1927-2009
Author / Creator
Nazir Ali Jairazbhoy, 1927-2009
Topic / Theme
Indian - Hindi Devotional, Bhajan, Wedding Music, Song, Praise Song, Voice
Copyright Message
Material sourced from the Nazir Ali Jairazbhoy and Amy Catlin-Jairazbhoy Collection, Archive and Research Center for Ethnomusicology. Copyright Amy Catlin-Jairazbhoy.
×
Akasozi bamunanika (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR136 , 3 mins
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 , 3 mins
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
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.
×
Allah, Allah (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR171 , 1 min
Two chants in praise of Allah. It is commonly believed by Mohammedans that by constantly repeating the name of a dead sheik you could see him in a vision. The capacity for "seeing" eidetic images is found all over the world. This kind of "grunting" is found in many African tribes who have experienced the influence...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR171 , 1 min
Description
Two chants in praise of Allah. It is commonly believed by Mohammedans that by constantly repeating the name of a dead sheik you could see him in a vision. The capacity for "seeing" eidetic images is found all over the world. This kind of "grunting" is found in many African tribes who have experienced the influence of Mohammedanism. It is also used among the Xhosa of the Transkei although they are said to have left East Africa about 400 years ago...
Two chants in praise of Allah. It is commonly believed by Mohammedans that by constantly repeating the name of a dead sheik you could see him in a vision. The capacity for "seeing" eidetic images is found all over the world. This kind of "grunting" is found in many African tribes who have experienced the influence of Mohammedanism. It is also used among the Xhosa of the Transkei although they are said to have left East Africa about 400 years ago and have no trace of that religion today.
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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.
Tracks
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Arap Chepsiolei (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR164 (1950) , 1 page(s)
This lyre is strummed like a Guitar with the right hand, the left hand stopping the five strings, like the Bongwe Zither of Nyasaland. This gave two chords. Notes 1, 3, and 5 and notes 2 and 4. One string, they said, was missing, the lower octave of No. 1. The scale was: - 308, 256, 232, 206, 180, (154) vs.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR164 (1950) , 1 page(s)
Description
This lyre is strummed like a Guitar with the right hand, the left hand stopping the five strings, like the Bongwe Zither of Nyasaland. This gave two chords. Notes 1, 3, and 5 and notes 2 and 4. One string, they said, was missing, the lower octave of No. 1. The scale was: - 308, 256, 232, 206, 180, (154) vs.
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
Praise Song, Lyre, Kipukandet
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Awu mungoya wetu amusolile konongo Part I (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 (1950) , 1 page(s)
"The English and the Germans came and still come into our country. What do they want? We do not know them well. This song of ours comes from the Nyamwezi." A lovely chant sung before dancing, by a most decorative people They sing also about their soldiers who fought in the 1939-45 war, and how they went to the Mid...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 (1950) , 1 page(s)
Description
"The English and the Germans came and still come into our country. What do they want? We do not know them well. This song of ours comes from the Nyamwezi." A lovely chant sung before dancing, by a most decorative people They sing also about their soldiers who fought in the 1939-45 war, and how they went to the Middle East and Ceylon. The song is one of the typical sung legends or epics of the Gogo who are renowned for their compositions of this n...
"The English and the Germans came and still come into our country. What do they want? We do not know them well. This song of ours comes from the Nyamwezi." A lovely chant sung before dancing, by a most decorative people They sing also about their soldiers who fought in the 1939-45 war, and how they went to the Middle East and Ceylon. The song is one of the typical sung legends or epics of the Gogo who are renowned for their compositions of this nature. In the first part the young composer and his friend sing an introduction and at 1 m 30s after the start they introduce the chorus of men and women who are standing in line of dance three or four deep. The soloists line each phrase calling "Kanyi" when they want a phrase or stanza repeated.
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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
Praise Song, Vocals, group
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Awu mungoya wetu amusolile konongo Part I (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 , 3 mins
"The English and the Germans came and still come into our country. What do they want? We do not know them well. This song of ours comes from the Nyamwezi." A lovely chant sung before dancing, by a most decorative people They sing also about their soldiers who fought in the 1939-45 war, and how they went to the Mid...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 , 3 mins
Description
"The English and the Germans came and still come into our country. What do they want? We do not know them well. This song of ours comes from the Nyamwezi." A lovely chant sung before dancing, by a most decorative people They sing also about their soldiers who fought in the 1939-45 war, and how they went to the Middle East and Ceylon. The song is one of the typical sung legends or epics of the Gogo who are renowned for their compositions of this n...
"The English and the Germans came and still come into our country. What do they want? We do not know them well. This song of ours comes from the Nyamwezi." A lovely chant sung before dancing, by a most decorative people They sing also about their soldiers who fought in the 1939-45 war, and how they went to the Middle East and Ceylon. The song is one of the typical sung legends or epics of the Gogo who are renowned for their compositions of this nature. In the first part the young composer and his friend sing an introduction and at 1 m 30s after the start they introduce the chorus of men and women who are standing in line of dance three or four deep. The soloists line each phrase calling "Kanyi" when they want a phrase or stanza repeated.
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Show less
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.
×
Awu mungoya wetu amusolile konongo Part II (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 (1950) , 2 page(s)
The dance which follows the chanting of Awu Mungoya, Part I. Each man had a pod shapped metal bell or two tied below one knee which emphasised the stamping of that foot. Unlike the Zulu, the Gogo appear to stamp only one foot, and not alternate feet in this dance. The flute obligato lends an attractive rustic touc...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 (1950) , 2 page(s)
Description
The dance which follows the chanting of Awu Mungoya, Part I. Each man had a pod shapped metal bell or two tied below one knee which emphasised the stamping of that foot. Unlike the Zulu, the Gogo appear to stamp only one foot, and not alternate feet in this dance. The flute obligato lends an attractive rustic touch to the whole. This recording is part of the dance which normally follows the opening song, the sound of the leg bells and the Mulanzi...
The dance which follows the chanting of Awu Mungoya, Part I. Each man had a pod shapped metal bell or two tied below one knee which emphasised the stamping of that foot. Unlike the Zulu, the Gogo appear to stamp only one foot, and not alternate feet in this dance. The flute obligato lends an attractive rustic touch to the whole. This recording is part of the dance which normally follows the opening song, the sound of the leg bells and the Mulanzi flute being herd. The full dance lasts for a considerable time and only a part was recorded.
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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
Praise Song, Flute, Bell
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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