Browse Titles - 369 results
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Abarinda nibarwana (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR134 (1950) , 1 page(s)
The people who protect this country are away fighting.' This refers to old tribal fighting before the Europeans came and stopped it all, i.e. before 1890.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR134 (1950) , 1 page(s)
Description
The people who protect this country are away fighting.' This refers to old tribal fighting before the Europeans came and stopped it all, i.e. before 1890.
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
Dance, Song, Flute, Drum
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Ada a Banda (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR185 (1950)
"My father, Banda, has gone off to work in the towns, for a long long time, to buy himself clothes." how true a reflection this is upon thousands of Tonga men in this district who go off to mines and towns for their own reasons leaving the women and children to fend for themselves at home. Many send back money, bu...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR185 (1950)
Description
"My father, Banda, has gone off to work in the towns, for a long long time, to buy himself clothes." how true a reflection this is upon thousands of Tonga men in this district who go off to mines and towns for their own reasons leaving the women and children to fend for themselves at home. Many send back money, but as many others find local foreign girls and forget their home and children.
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
Dance, Song, Drum
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
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Adya moreyana (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR195 (1963)
They could not explain the significance of this statement and whether the drink or the song might have killed a weaker man! "Mapolwane wa kolobe O phela ka go ja leraga Mpinelele ke rayile Thabakgolo ke kgosi ya gokwala O philiye ka yona kosa yoni." "A piglet lives on mud. Sing that I may dance. Thabakgolo is a gr...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR195 (1963)
Description
They could not explain the significance of this statement and whether the drink or the song might have killed a weaker man! "Mapolwane wa kolobe O phela ka go ja leraga Mpinelele ke rayile Thabakgolo ke kgosi ya gokwala O philiye ka yona kosa yoni." "A piglet lives on mud. Sing that I may dance. Thabakgolo is a great chief, He lived through this song."
Date Written / Recorded
1963
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Dance, Drum, Rattle
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
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Ahe likalakati (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR064 (1957) , 1 page(s)
The four leading women sang this song on their knees, and the principal singer also mimed the torso, hip and arm movements of the dance whilst she sang.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR064 (1957) , 1 page(s)
Description
The four leading women sang this song on their knees, and the principal singer also mimed the torso, hip and arm movements of the dance whilst she sang.
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.
×
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Aiba mange kimiango (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)
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 (1952) , 1 page(s)
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
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Dance, African Drumming, Drum, Rattle, basket, Horn, ivory
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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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.
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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.
×
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Aku dewile nu wakate pwana dewile (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR123 (1952) , 1 page(s)
Mongonika sang the solo phrases to this dance which is called by the same name as himself. He is a clerk at the Chief's office and dressed himself in the traditional barkcloth 'breeches' and beads for the dances. The breeches are made from a five to six foot length of barkcloth about 4 foot wide which is drawn up...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR123 (1952) , 1 page(s)
Description
Mongonika sang the solo phrases to this dance which is called by the same name as himself. He is a clerk at the Chief's office and dressed himself in the traditional barkcloth 'breeches' and beads for the dances. The breeches are made from a five to six foot length of barkcloth about 4 foot wide which is drawn up loosely between the legs and spread out fore and aft and secured by a belt. The result is a rather voluminous dress typical of many tri...
Mongonika sang the solo phrases to this dance which is called by the same name as himself. He is a clerk at the Chief's office and dressed himself in the traditional barkcloth 'breeches' and beads for the dances. The breeches are made from a five to six foot length of barkcloth about 4 foot wide which is drawn up loosely between the legs and spread out fore and aft and secured by a belt. The result is a rather voluminous dress typical of many tribes in N. Eastern Congo. Tuning of Kponingbo:-- 664, 568, 496, 392, 360, 332, 284, 248, 196.
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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.
×
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Alaina n’kuphika nkhwani (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR097 (1958) , 2 page(s)
This kind of dance, they say, was first introduced into the district by Yao people, about 15 years ago, 1940, when it was originally sung in the Yao language, from the Fort Johnstone District. But the Chewa girls liked the dance and made up their own words for it. They reflect the young girls growing sense of resp...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR097 (1958) , 2 page(s)
Description
This kind of dance, they say, was first introduced into the district by Yao people, about 15 years ago, 1940, when it was originally sung in the Yao language, from the Fort Johnstone District. But the Chewa girls liked the dance and made up their own words for it. They reflect the young girls growing sense of responsibility toward her domestic duties. "Alaina nkuphika nkhwani nanga ine ndidyele ciani alaina Mai wanga nkuphika nkhwani nanga ine nd...
This kind of dance, they say, was first introduced into the district by Yao people, about 15 years ago, 1940, when it was originally sung in the Yao language, from the Fort Johnstone District. But the Chewa girls liked the dance and made up their own words for it. They reflect the young girls growing sense of responsibility toward her domestic duties. "Alaina nkuphika nkhwani nanga ine ndidyele ciani alaina Mai wanga nkuphika nkhwani nanga ine ndidyele ciani." "Alaina cooked vegetables, what shall I do for vegetables myself? My mother cooked vegetables, what shall I do for vegetables myself?"
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Date Written / Recorded
1958
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Dance, African Drumming, Clapping, hand
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
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Aliyale (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR096 (1958) , 2 page(s)
Who Angozo might have been and what he had done could not be explained, but the song was, no doubt, founded on fact, and the singing of this song would ensure publicity. "Angoza, ine ee ee, umerewo ndimwano Ambani ee-ee-ee-ee! Simudziwa mbodola ansani ee-ee!" "Angozo (man's name) you are very indiscreet. You have...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR096 (1958) , 2 page(s)
Description
Who Angozo might have been and what he had done could not be explained, but the song was, no doubt, founded on fact, and the singing of this song would ensure publicity. "Angoza, ine ee ee, umerewo ndimwano Ambani ee-ee-ee-ee! Simudziwa mbodola ansani ee-ee!" "Angozo (man's name) you are very indiscreet. You have not kept our affair private."
Date Written / Recorded
1958
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.
×
See details
Alume yerani malo (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR162 (1950) , 1 page(s)
The singer calls to those behind to hurry and catch up with the dance team as they are going to a big dance competition. This item is a fascinating example of the authentic 2 against 3 African cross rhythm.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR162 (1950) , 1 page(s)
Description
The singer calls to those behind to hurry and catch up with the dance team as they are going to a big dance competition. This item is a fascinating example of the authentic 2 against 3 African cross rhythm.
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
Song, Dance, Rattle, Kayamba, Clapping, hand
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
