Browse Titles - 20 results
See details
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.
×
See details
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?"
Show more
Show less
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.
×
See details
Ching’ombe Kulowa, 1st movement (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 (1950) , 1 page(s)
The dancers were composed of about 50 young men from the ages of 10 to 20 years. Three dancers pranced in front. A notable feature was the large buttefly bows tied onto the top of the heads of several of the dancers.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 (1950) , 1 page(s)
Description
The dancers were composed of about 50 young men from the ages of 10 to 20 years. Three dancers pranced in front. A notable feature was the large buttefly bows tied onto the top of the heads of several of the dancers.
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, African Drumming, Gourd, struck, Malipenga, Drum
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Citawala 2nd movement (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 (1950) , 1 page(s)
A good example of Malipenga playing and dancing. This is the opening movement of the dance. The word Muganda which is the name of this dance is taken from the sound of the drums which accompany the singing gourds. "Men and women, togeher with the chief, you have come here to see the clever dancers. We come from to...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 (1950) , 1 page(s)
Description
A good example of Malipenga playing and dancing. This is the opening movement of the dance. The word Muganda which is the name of this dance is taken from the sound of the drums which accompany the singing gourds. "Men and women, togeher with the chief, you have come here to see the clever dancers. We come from towns where we sing like church organs." Are two melodies for this 2nd movement. There are two movements in the Mugunda dance, the second...
A good example of Malipenga playing and dancing. This is the opening movement of the dance. The word Muganda which is the name of this dance is taken from the sound of the drums which accompany the singing gourds. "Men and women, togeher with the chief, you have come here to see the clever dancers. We come from towns where we sing like church organs." Are two melodies for this 2nd movement. There are two movements in the Mugunda dance, the second is performed with drums only and without the Malipenga gourds.
Show more
Show less
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, African Drumming, Drum
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Hanzi bomu bomu Kulowa, 1st movement (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 (1950) , 1 page(s)
The singers explained "The 'Hanzi bomu bomu' song is our latest composition which is being sung all over the country. Please make sure you learn how to sing it." "Hanzi bomu bomu" means 'Hands bombs' or 'hand grenades.' This refers to the 1939-45 war. Many of the singers were in the K.A.R. (Kings African Rifles) b...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 (1950) , 1 page(s)
Description
The singers explained "The 'Hanzi bomu bomu' song is our latest composition which is being sung all over the country. Please make sure you learn how to sing it." "Hanzi bomu bomu" means 'Hands bombs' or 'hand grenades.' This refers to the 1939-45 war. Many of the singers were in the K.A.R. (Kings African Rifles) but they had only a distant and hazy idea of the effect of explosives.
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, African Drumming, Gourd, struck, Malipenga, Drum
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Hino Nacional (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 (1963) , 2 page(s)
Introduced by the 'Hino Nacional,' the Portuguese national anthem. Women came out in pairs and danced opposite each other, each doing a violent dance du ventre. As soon as they tired, their places would be taken by two others. The singing horns here are usually manufactured by a local tin smith from galvanised fla...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 (1963) , 2 page(s)
Description
Introduced by the 'Hino Nacional,' the Portuguese national anthem. Women came out in pairs and danced opposite each other, each doing a violent dance du ventre. As soon as they tired, their places would be taken by two others. The singing horns here are usually manufactured by a local tin smith from galvanised flat iron usually taken from old kerosine tins. One of the horns used was the horn of an old acoustic gramophone. The use of singing horns...
Introduced by the 'Hino Nacional,' the Portuguese national anthem. Women came out in pairs and danced opposite each other, each doing a violent dance du ventre. As soon as they tired, their places would be taken by two others. The singing horns here are usually manufactured by a local tin smith from galvanised flat iron usually taken from old kerosine tins. One of the horns used was the horn of an old acoustic gramophone. The use of singing horns made of metal in a speciality of the GiTonga. They are played with very noisy drums and struck iron, and the result is deafening rather than musical.
Show more
Show less
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, African Drumming, Drum, Rattle, Horn
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Katela II (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR177 (1952) , 1 page(s)
These songs and the accompanying dances are performed when there is a death in the village. Ketela is the generic name of this type of dance song. A number of clapping rhythms occur in these songs including: -- b. //1, -, -, 4, -, 6, -, -//
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR177 (1952) , 1 page(s)
Description
These songs and the accompanying dances are performed when there is a death in the village. Ketela is the generic name of this type of dance song. A number of clapping rhythms occur in these songs including: -- b. //1, -, -, 4, -, 6, -, -//
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
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Katela III (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR177 (1952) , 1 page(s)
These songs and the accompanying dances are performed when there is a death in the village. Ketela is the generic name of this type of dance song. A number of clapping rhythms occur in these songs including: -- c. //1, 2, 3, -, 5, -, 7, -//
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR177 (1952) , 1 page(s)
Description
These songs and the accompanying dances are performed when there is a death in the village. Ketela is the generic name of this type of dance song. A number of clapping rhythms occur in these songs including: -- c. //1, 2, 3, -, 5, -, 7, -//
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
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Ketu hunyinga (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR177 (1952) , 2 page(s)
The four drummers were the chief singers together with their women. Malimba: 2 xylophones, on frames without resonators. Three goblet drums, one called Itumba and the others Mutumbwe. The Itumba drum was a closed drum with a mirliton fixed into its side, 20 inches high with 12 1/2 inch membrane. The two Mutumbwe d...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR177 (1952) , 2 page(s)
Description
The four drummers were the chief singers together with their women. Malimba: 2 xylophones, on frames without resonators. Three goblet drums, one called Itumba and the others Mutumbwe. The Itumba drum was a closed drum with a mirliton fixed into its side, 20 inches high with 12 1/2 inch membrane. The two Mutumbwe drums we both weighted with paste to lower their pitch, and had similar mirlitons. The largest slit drum, Kunri, was insulated from the...
The four drummers were the chief singers together with their women. Malimba: 2 xylophones, on frames without resonators. Three goblet drums, one called Itumba and the others Mutumbwe. The Itumba drum was a closed drum with a mirliton fixed into its side, 20 inches high with 12 1/2 inch membrane. The two Mutumbwe drums we both weighted with paste to lower their pitch, and had similar mirlitons. The largest slit drum, Kunri, was insulated from the ground as it had no legs. In this respect the slit drums behave physically like a xylophone note and must be supported at the two nodes or they will not sound properly.
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
Dance, African Drumming, Xylophone, Drum
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Kwa-kwa-kwa uma-ye (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR095 (1958) , 2 page(s)
The Nyau dance, they say, is performed in the dry season. The dancers put on rags and cover their faces and heads with feathers or grass masks so that they cannot be recognized. In some cases disobedient girls can be caught and beaten. It is an initiation dance for boys but the women instructors can use them for t...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR095 (1958) , 2 page(s)
Description
The Nyau dance, they say, is performed in the dry season. The dancers put on rags and cover their faces and heads with feathers or grass masks so that they cannot be recognized. In some cases disobedient girls can be caught and beaten. It is an initiation dance for boys but the women instructors can use them for this purpose. It always appears to be girls who needs instruction and never the boys who merely go through their initiation ceremonies.
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, Drum
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
