Browse Titles - 2004 results
See details
Atate wuchona kwa Rhodesia (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR187 (1957) , 2 page(s)
His Bango is unusual in that it has two tin resonators, one at each end. He played the strings with his left hand and beat a simple pulse on one of the resonators with his firht and miming the action at the word "Ndito", 'truly'. For the second song he turned his Bango round and held it at right angles pointing aw...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR187 (1957) , 2 page(s)
Description
His Bango is unusual in that it has two tin resonators, one at each end. He played the strings with his left hand and beat a simple pulse on one of the resonators with his firht and miming the action at the word "Ndito", 'truly'. For the second song he turned his Bango round and held it at right angles pointing away from him touching the strings with his left hand and striking them with his right. This is the normal way of holding the instrument....
His Bango is unusual in that it has two tin resonators, one at each end. He played the strings with his left hand and beat a simple pulse on one of the resonators with his firht and miming the action at the word "Ndito", 'truly'. For the second song he turned his Bango round and held it at right angles pointing away from him touching the strings with his left hand and striking them with his right. This is the normal way of holding the instrument. The performer looked like a little old elf.
Show more
Show less
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, Zither, Banjo
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Atu (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR180 (1952) , 1 page(s)
"So many people have been born So many people have died Now all my folks are finished So who will keep me company when I die?" This song with its antiphonal call and answer is typical of the majority of folk songs of the Chokwe heard on the mines. This kind of performance is most difficult to record effectively fo...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR180 (1952) , 1 page(s)
Description
"So many people have been born So many people have died Now all my folks are finished So who will keep me company when I die?" This song with its antiphonal call and answer is typical of the majority of folk songs of the Chokwe heard on the mines. This kind of performance is most difficult to record effectively for several reasons.
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, Rattle, Gourd, struck, Sticks
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Atu (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR180 , 3 mins
"So many people have been born So many people have died Now all my folks are finished So who will keep me company when I die?" This song with its antiphonal call and answer is typical of the majority of folk songs of the Chokwe heard on the mines. This kind of performance is most difficult to record effectively fo...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR180 , 3 mins
Description
"So many people have been born So many people have died Now all my folks are finished So who will keep me company when I die?" This song with its antiphonal call and answer is typical of the majority of folk songs of the Chokwe heard on the mines. This kind of performance is most difficult to record effectively for several reasons.
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
×
See details
Danza Paraguaya -
composed by Agustín Barrios Mangoré, 1885-1944; performed by Jad Azkoul; in Augustin Barrios Mangoré: Chôro Do Saudade (Classical.com Music, 2009), 4 mins
Sample
composed by Agustín Barrios Mangoré, 1885-1944; performed by Jad Azkoul; in Augustin Barrios Mangoré: Chôro Do Saudade (Classical.com Music, 2009), 4 mins
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Jad Azkoul
Author / Creator
Agustín Barrios Mangoré, 1885-1944, Jad Azkoul
Date Published / Released
2009-02-16
Publisher
Classical.com Music
×
See details
Ritsel (Rattle)
edited by Jeanell Carrigan; composed by Meta Overman, 1907-1993, in Australian Heritage Collection, Ritsel (Rattle) (Wollongong, New South Wales: Wirripang, 2016), 21 page(s)
Sample
edited by Jeanell Carrigan; composed by Meta Overman, 1907-1993, in Australian Heritage Collection, Ritsel (Rattle) (Wollongong, New South Wales: Wirripang, 2016), 21 page(s)
Field of Study
Classical Music
Content Type
Score
Contributor
Jeanell Carrigan
Author / Creator
Meta Overman, 1907-1993
Date Published / Released
2016
Publisher
Wirripang
Series
Australian Heritage Collection
Copyright Message
Copyright © 2016 Wirripang Pty Ltd
×
See details
The Ballerina
edited by Jeanell Carrigan; composed by Marjorie Hesse, 1911- (1961), in Australian Heritage Collection, The Ballerina (Wollongong, New South Wales: Wirripang, 2016), 22 page(s)
Sample
edited by Jeanell Carrigan; composed by Marjorie Hesse, 1911- (1961), in Australian Heritage Collection, The Ballerina (Wollongong, New South Wales: Wirripang, 2016), 22 page(s)
Date Written / Recorded
1961
Field of Study
Classical Music
Content Type
Score
Contributor
Jeanell Carrigan
Author / Creator
Marjorie Hesse, 1911-
Date Published / Released
2016
Publisher
Wirripang
Series
Australian Heritage Collection
Copyright Message
Copyright © 2016 Wirripang Pty Ltd
×
See details
Salzburger Tanzchen
composed by Tobi Reiser, 1907-1974; performed by Ensemble Tobias Reiser; in Ave Maria Grosse Kaiserin - Marian Songs and Folk Melodies (Profil, 2006), 2 mins
Sample
composed by Tobi Reiser, 1907-1974; performed by Ensemble Tobias Reiser; in Ave Maria Grosse Kaiserin - Marian Songs and Folk Melodies (Profil, 2006), 2 mins
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Ensemble Tobias Reiser
Author / Creator
Tobi Reiser, 1907-1974, Ensemble Tobias Reiser
Date Published / Released
2006
Publisher
Profil
×
See details
Awelemuwo ee dandaula (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR092 , 3 mins
The Ilala dance started, they say, irr 1957 in the Fort Johnstone district. It is danced by youths standing in rows or circles and shaking their shoulders forwards and backwards and thrusting out their chins in time with the syncopation of the Mudewa drums. This action requires great suppleness of the neck and up...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR092 , 3 mins
Description
The Ilala dance started, they say, irr 1957 in the Fort Johnstone district. It is danced by youths standing in rows or circles and shaking their shoulders forwards and backwards and thrusting out their chins in time with the syncopation of the Mudewa drums. This action requires great suppleness of the neck and upper spine to perform effectively. The movement is disntinctive to Ilala and is niether like the rippling of the Xhosa of the shaking of...
The Ilala dance started, they say, irr 1957 in the Fort Johnstone district. It is danced by youths standing in rows or circles and shaking their shoulders forwards and backwards and thrusting out their chins in time with the syncopation of the Mudewa drums. This action requires great suppleness of the neck and upper spine to perform effectively. The movement is disntinctive to Ilala and is niether like the rippling of the Xhosa of the shaking of the Chopi dancers.
Show more
Show less
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.
×
See details
Awu mungoya wetu amusolile konongo Part II (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 , 1 min
The dance which follows the chanting of Awu Mungoya, Part I. Each man had a pod shapped metal bell or two tied below one knee which emphasised the stamping of that foot. Unlike the Zulu, the Gogo appear to stamp only one foot, and not alternate feet in this dance. The flute obligato lends an attractive rustic touc...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 , 1 min
Description
The dance which follows the chanting of Awu Mungoya, Part I. Each man had a pod shapped metal bell or two tied below one knee which emphasised the stamping of that foot. Unlike the Zulu, the Gogo appear to stamp only one foot, and not alternate feet in this dance. The flute obligato lends an attractive rustic touch to the whole. This recording is part of the dance which normally follows the opening song, the sound of the leg bells and the Mulanzi...
The dance which follows the chanting of Awu Mungoya, Part I. Each man had a pod shapped metal bell or two tied below one knee which emphasised the stamping of that foot. Unlike the Zulu, the Gogo appear to stamp only one foot, and not alternate feet in this dance. The flute obligato lends an attractive rustic touch to the whole. This recording is part of the dance which normally follows the opening song, the sound of the leg bells and the Mulanzi flute being herd. The full dance lasts for a considerable time and only a part was recorded.
Show more
Show less
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.
×
See details
Awu mungoya wetu amusolile konongo Part III (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 (1950) , 2 page(s)
In this recording the whole group sing the song again, this time not as a dance but as a song with most of the stanzas included. It is clear that the length of the song depends largely on the leaders and the stanzas they line. There are few prople in Africa within our experience who can compare with these Gogo mus...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 (1950) , 2 page(s)
Description
In this recording the whole group sing the song again, this time not as a dance but as a song with most of the stanzas included. It is clear that the length of the song depends largely on the leaders and the stanzas they line. There are few prople in Africa within our experience who can compare with these Gogo musicians in their special field.
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, Flute, Bell
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
