Browse Titles - 259 results
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Makarita nyaku hakanye (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 , 1 min
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 , 1 min
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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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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Makarita (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 , 1 min
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 , 1 min
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
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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Malaya 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)
"We have no clothes to wear, which is very disappointing. If we work hard we will get money but it will not be enough to buy all the clothes we need." The great economic incentive in many parts of Africa among the young men is fine clothes. Many indeed go to the towns and mines for this primary purpose.
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
"We have no clothes to wear, which is very disappointing. If we work hard we will get money but it will not be enough to buy all the clothes we need." The great economic incentive in many parts of Africa among the young men is fine clothes. Many indeed go to the towns and mines for this primary purpose.
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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Malaya 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
"We have no clothes to wear, which is very disappointing. If we work hard we will get money but it will not be enough to buy all the clothes we need." The great economic incentive in many parts of Africa among the young men is fine clothes. Many indeed go to the towns and mines for this primary purpose.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 , 3 mins
Description
"We have no clothes to wear, which is very disappointing. If we work hard we will get money but it will not be enough to buy all the clothes we need." The great economic incentive in many parts of Africa among the young men is fine clothes. Many indeed go to the towns and mines for this primary purpose.
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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Mali yoi-yoi-ile (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR020 (1957) , 1 page(s)
Although the slit drum, or gong, is used for sending messages among this Congo tribe which lives beside the Bushimaie tributary of the Sankuru, itself a tributary of the Kasai, the great southern arm of the Congo River, it is also used as an accompaniment for dances. It is not known for certain whether it is used...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR020 (1957) , 1 page(s)
Description
Although the slit drum, or gong, is used for sending messages among this Congo tribe which lives beside the Bushimaie tributary of the Sankuru, itself a tributary of the Kasai, the great southern arm of the Congo River, it is also used as an accompaniment for dances. It is not known for certain whether it is used to communicate with the dancers during the course of a dance, as is the common practice in West Africa; but from present evidence this...
Although the slit drum, or gong, is used for sending messages among this Congo tribe which lives beside the Bushimaie tributary of the Sankuru, itself a tributary of the Kasai, the great southern arm of the Congo River, it is also used as an accompaniment for dances. It is not known for certain whether it is used to communicate with the dancers during the course of a dance, as is the common practice in West Africa; but from present evidence this appears to be unlikely among the Kanyoka. When those people (Kasai or Luba) on the other side of the river hear us singing so well, they want to come and cut our throats.' The river appears to be either the Bushimaie or the Lubilashi, which are said to separate the Kanyoka tribe from the Luba and other tribes.
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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, Guitar, Drum, goblet, Rattle, basket, Metal pieces
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Maliana kasemele mwana (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR180 (1952) , 2 page(s)
The player used his bamboo-tongued Mbira more as a percussion instrument than a musical one, and was able to extract humor from his manner of playing it. In only a few places in central and southern Africa do you find bamboo or cane reeds used on the Mbira type of instrument. Whether they preceded the use of iron...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR180 (1952) , 2 page(s)
Description
The player used his bamboo-tongued Mbira more as a percussion instrument than a musical one, and was able to extract humor from his manner of playing it. In only a few places in central and southern Africa do you find bamboo or cane reeds used on the Mbira type of instrument. Whether they preceded the use of iron or whether their use was dictated by lack of metal in the district has not yet been determined. The thin tone of the bamboo slats contr...
The player used his bamboo-tongued Mbira more as a percussion instrument than a musical one, and was able to extract humor from his manner of playing it. In only a few places in central and southern Africa do you find bamboo or cane reeds used on the Mbira type of instrument. Whether they preceded the use of iron or whether their use was dictated by lack of metal in the district has not yet been determined. The thin tone of the bamboo slats contrasts unfavorably with the metal notes of the usual Mbira. The singer, however, is a gifted entertainer and demonstrates how effective a performance can be with so slight and accompaniment.
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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, Mbira
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Mambala I (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR179 , 3 mins
This cheerful noise gives no impression at all of being associated with a funeral, but the singers stated that it was so. The three drums were called respectively: -- Ditumba, weighted with wax, with a mirliton (lutanda). Gatumbatumba, which was neither weighted nor had a mirliton. Mutumbi, weighted with wax but w...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR179 , 3 mins
Description
This cheerful noise gives no impression at all of being associated with a funeral, but the singers stated that it was so. The three drums were called respectively: -- Ditumba, weighted with wax, with a mirliton (lutanda). Gatumbatumba, which was neither weighted nor had a mirliton. Mutumbi, weighted with wax but without a mirliton. The singing gourds were the usual empty gourds commonly used by Luba women.
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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Mambala II (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR179 (1952) , 1 page(s)
A song typical of most funeral songs by Luba women, with a cheerful theme assisted by the strange sound of the singing horns.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR179 (1952) , 1 page(s)
Description
A song typical of most funeral songs by Luba women, with a cheerful theme assisted by the strange sound of the singing horns.
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, Gourd, struck
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Mambala II (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR179 , 3 mins
A song typical of most funeral songs by Luba women, with a cheerful theme assisted by the strange sound of the singing horns.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR179 , 3 mins
Description
A song typical of most funeral songs by Luba women, with a cheerful theme assisted by the strange sound of the singing horns.
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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Manyanda 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)
"Come and see the clever dancers." 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.
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
"Come and see the clever dancers." 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.
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
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
