Browse Titles - 43 results
(Lyrichord, 1993), 43 mins
Date Written / Recorded
1969-08-10
Field of Study
World Music
Content Type
Music recording
Contributor
Roberto Leydi, 1928-2003
Date Published / Released
1993-01-14
Publisher
Lyrichord
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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.
×
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.
×
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.
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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
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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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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)
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)
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.
×
Ching’ombe Kulowa, 1st movement (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 , 3 mins
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 , 3 mins
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
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.
×
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)
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)
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.
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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
Dance, African Drumming, Drum
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Citawala 2nd movement (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 , 1 min
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 , 1 min
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.
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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.
×
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)
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)
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.
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