Browse Titles - 1141 results
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Zaina wasala madembe (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR091 , 2 mins
This tune originated from the souther side of the Zambezi valley from the Sena/Tonoa people, so the singer said. If so it is likely that the original tune was played upon some instrument other than the Bangwe board zither which normally does not penetrate across the Zambesi.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR091 , 2 mins
Description
This tune originated from the souther side of the Zambezi valley from the Sena/Tonoa people, so the singer said. If so it is likely that the original tune was played upon some instrument other than the Bangwe board zither which normally does not penetrate across the Zambesi.
Date Written / Recorded
1958
Field of Study
World Music
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.
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Zamapembe sesiyandinda (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR185 , 1 min
We have brought your wife. You must love her and treat her well. it is clear to the Zulu-speaking people from the pronunciation that these songs are sung by people of mixed origin. The wedding songs of the Ngoni appear to have been influenced by their mother's side of the family -- The Tumbuka and Chewa speaking t...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR185 , 1 min
Description
We have brought your wife. You must love her and treat her well. it is clear to the Zulu-speaking people from the pronunciation that these songs are sung by people of mixed origin. The wedding songs of the Ngoni appear to have been influenced by their mother's side of the family -- The Tumbuka and Chewa speaking tribes.
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.
×
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Zapoke muchere uno (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR189 , 2 mins
A typical song from the Lundazi District which makes use of the local variety of yodeling and chorus. The recording was made in a hall which gives a false acoustic to the song which as a folk song should be heard in the open air.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR189 , 2 mins
Description
A typical song from the Lundazi District which makes use of the local variety of yodeling and chorus. The recording was made in a hall which gives a false acoustic to the song which as a folk song should be heard in the open air.
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.
×
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Zelina (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR188 , 1 min
"Zelina I have touched your girdle of beads." This singer is a Ngoni singing in Tumbuka, the language of the people amongst whom he lives. To touch the bead girdle is an indication of success in love.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR188 , 1 min
Description
"Zelina I have touched your girdle of beads." This singer is a Ngoni singing in Tumbuka, the language of the people amongst whom he lives. To touch the bead girdle is an indication of success in love.
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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Zimbige II (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR082 , 2 mins
This is an instrumental recording only. The player was playing with the thumb of the left hand, the thumb and first finger of the right hand. The Njari is the traditional instrument of the district having originated from the Buhera district further north over two centuries ago, when it began to displace an older v...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR082 , 2 mins
Description
This is an instrumental recording only. The player was playing with the thumb of the left hand, the thumb and first finger of the right hand. The Njari is the traditional instrument of the district having originated from the Buhera district further north over two centuries ago, when it began to displace an older variety called the Mbira-dza-Midgimu.
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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Ziriya (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR172 , 3 mins
A dance tune associated with the Mashawi Soul ritual, which forms an important part of the spiritual concepts of the tribe.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR172 , 3 mins
Description
A dance tune associated with the Mashawi Soul ritual, which forms an important part of the spiritual concepts of the tribe.
Date Written / Recorded
1949
Field of Study
World Music
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.
×
See details
Zore I (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 , 1 min
2 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horn. The 2 Kisisu drums were played by one man who beat an irr...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 , 1 min
Description
2 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horn. The 2 Kisisu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges....
2 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horn. The 2 Kisisu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The main dance of the GiTonga appears to be a kind of violent dance du ventre in which the hips and belly are rolled and shaken—the women and men coming out in pairs to dance in the centre of the ring. In both Zore II and III the order of appearance of the instruments is:— First Kirisu drums, then the 2 Chohodwani drums, then the Shikulu and then the corrugated iron Tsakara. The GiTonga dances are among the most deafening in Africa. The volume of sound within the circle of spectators, drummers and dancers must approach, if not exceed, the threshold of pain in the ears.
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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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Zore II (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 , 1 min
3 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horThe 2 Kisisu drums were played by one man who beat an irregu...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 , 1 min
Description
3 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horThe 2 Kisisu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The...
3 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horThe 2 Kisisu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The main dance of the GiTonga appears to be a kind of violent dance du ventre in which the hips and belly are rolled and shaken—the women and men coming out in pairs to dance in the centre of the ring. In both Zore II and III the order of appearance of the instruments is:— First Kirisu drums, then the 2 Chohodwani drums, then the Shikulu and then the corrugated iron Tsakara. The GiTonga dances are among the most deafening in Africa. The volume of sound within the circle of spectators, drummers and dancers must approach, if not exceed, the threshold of pain in the ears.
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Show less
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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Zore III (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 , 1 min
3 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horThe 2 Kisisu drums were played by one man who beat an irregu...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 , 1 min
Description
3 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horThe 2 Kisisu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The...
3 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horThe 2 Kisisu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The main dance of the GiTonga appears to be a kind of violent dance du ventre in which the hips and belly are rolled and shaken—the women and men coming out in pairs to dance in the centre of the ring. In both Zore II and III the order of appearance of the instruments is:— First Kirisu drums, then the 2 Chohodwani drums, then the Shikulu and then the corrugated iron Tsakara. The GiTonga dances are among the most deafening in Africa. The volume of sound within the circle of spectators, drummers and dancers must approach, if not exceed, the threshold of pain in the ears.
Show more
Show less
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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Zuwa na mwezi (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR185 , 3 mins
The sun and the moon are contrasted as lovers. The son returns to his mother and the mother sees in the hooting of the owls the omen of death to come. The player Yelele Lungu is one of two blind musicians in the Petauke District. He has developed an unusual degree of poetic imagery. He has never seen either the su...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR185 , 3 mins
Description
The sun and the moon are contrasted as lovers. The son returns to his mother and the mother sees in the hooting of the owls the omen of death to come. The player Yelele Lungu is one of two blind musicians in the Petauke District. He has developed an unusual degree of poetic imagery. He has never seen either the sun or the moon and his poetry consequently reflected a blind man's conception of natural phenomena. Unfortunately owing to technical dif...
The sun and the moon are contrasted as lovers. The son returns to his mother and the mother sees in the hooting of the owls the omen of death to come. The player Yelele Lungu is one of two blind musicians in the Petauke District. He has developed an unusual degree of poetic imagery. He has never seen either the sun or the moon and his poetry consequently reflected a blind man's conception of natural phenomena. Unfortunately owing to technical difficulties, both his recordings on this disc are poor, but his poetry warranted their inclusion.
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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
×
