Browse Titles - 259 results
Lugendo ewa halaka (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR149 , 3 mins
A hasty journey! I hurt my toe, Open the door for me, Mtandika Majembe.'
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR149 , 3 mins
Description
A hasty journey! I hurt my toe, Open the door for me, Mtandika Majembe.'
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.
×
Lulua mukwabumba (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR183 , 3 mins
This item should prove interesting to linguists for an analysis of the sung tones of the soloist, as her voice is clear and sure.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR183 , 3 mins
Description
This item should prove interesting to linguists for an analysis of the sung tones of the soloist, as her voice is clear and sure.
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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Lyalulumila lya Manyanga (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR149 (1950) , 1 page(s)
This is the first time I have been able to record my songs. I am the leader of the Manyanga dances.'
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR149 (1950) , 1 page(s)
Description
This is the first time I have been able to record my songs. I am the leader of the Manyanga dances.'
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, Drum, Bell
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Lyalulumila lya Manyanga (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR149 , 2 mins
This is the first time I have been able to record my songs. I am the leader of the Manyanga dances.'
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR149 , 2 mins
Description
This is the first time I have been able to record my songs. I am the leader of the Manyanga dances.'
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.
×
Mai fulendi kemu (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR186 (1950) , 1 page(s)
This singer is blind and is well known for his songs all over the district. In spite of his blindness he makes his own Bangwe zither himself. He was born in 1902 and after the age of 5 was blind. He is now 48 years old (1950). The words in the title of this song are intended to be in English but are hardly recogni...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR186 (1950) , 1 page(s)
Description
This singer is blind and is well known for his songs all over the district. In spite of his blindness he makes his own Bangwe zither himself. He was born in 1902 and after the age of 5 was blind. He is now 48 years old (1950). The words in the title of this song are intended to be in English but are hardly recognizable as such. His zither was made of eight papyrus stalks firmly tied together in a raft, with a gourd resonator into which the far en...
This singer is blind and is well known for his songs all over the district. In spite of his blindness he makes his own Bangwe zither himself. He was born in 1902 and after the age of 5 was blind. He is now 48 years old (1950). The words in the title of this song are intended to be in English but are hardly recognizable as such. His zither was made of eight papyrus stalks firmly tied together in a raft, with a gourd resonator into which the far end of the zither is placed.
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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, Song, Zither, Bangwe
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Maikele pafuamu = I once settled on a farm (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR024 (1957) , 2 page(s)
He sings he once wanted to settle on a new farm, but there were so many people who came to advise him, that in the end he was confused and did not do the right thing and his efforts to farm were a failure. Every morning a wagtail sat on the roof of his house and asked him when would he have a child? He considers t...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR024 (1957) , 2 page(s)
Description
He sings he once wanted to settle on a new farm, but there were so many people who came to advise him, that in the end he was confused and did not do the right thing and his efforts to farm were a failure. Every morning a wagtail sat on the roof of his house and asked him when would he have a child? He considers this most unfortunate because not only had his farm failed, but a bird spoke to him in his own language. The singer became blind just wh...
He sings he once wanted to settle on a new farm, but there were so many people who came to advise him, that in the end he was confused and did not do the right thing and his efforts to farm were a failure. Every morning a wagtail sat on the roof of his house and asked him when would he have a child? He considers this most unfortunate because not only had his farm failed, but a bird spoke to him in his own language. The singer became blind just when he began to walk as a child. Tuning of the instrument as follows:- 368, 340, 308, 280, 252, 232, 210, 190, 170, 154, 140 vps.
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Date Written / Recorded
1957
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Song, Dance, Mbira, mumamba, Bell
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Mailole (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)
"I'll go to Zomba to dance Jirí with my friend Mailole." The girls clap the first four beats in the bar.
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
"I'll go to Zomba to dance Jirí with my friend Mailole." The girls clap the first four beats in the bar.
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, Clapping, hand, Whistle
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Mailole (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 , 2 mins
"I'll go to Zomba to dance Jirí with my friend Mailole." The girls clap the first four beats in the bar.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 , 2 mins
Description
"I'll go to Zomba to dance Jirí with my friend Mailole." The girls clap the first four beats in the bar.
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
×
Makarita (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.
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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
Song, Dance, Drum, Rattle, Horn
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Makarita nyaku hakanye (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 (1963) , 1 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) , 1 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
Song, Dance, Drum, Rattle, Horn
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×