Browse Titles - 2004 results
Wa ya ye ku chika. Chishiba mai walene (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR039 (1957) , 1 page(s)
The recording starts with the sound of the four women sounding and singing into their singing gourds. The vibration of their lips can be heard clearly in parts of the recording. The style of melody is typical of their district of origin - the Kasai Province of Southern Congo.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR039 (1957) , 1 page(s)
Description
The recording starts with the sound of the four women sounding and singing into their singing gourds. The vibration of their lips can be heard clearly in parts of the recording. The style of melody is typical of their district of origin - the Kasai Province of Southern Congo.
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, Gourd, struck, Rattle
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Wa ya ye ku chika. Chishiba mai walene (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR039 , 3 mins
The item starts with the sound of the double bell and a weighted drum, followed by the recitative statement by the leader. Eventually the full chorus begins with a simple repeated refrain. The pauses in the drum rhythm mark the moment when one of the drummers throws up his drum into the air, catches it again betwe...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR039 , 3 mins
Description
The item starts with the sound of the double bell and a weighted drum, followed by the recitative statement by the leader. Eventually the full chorus begins with a simple repeated refrain. The pauses in the drum rhythm mark the moment when one of the drummers throws up his drum into the air, catches it again between his knees and continues the rhythm without losing tempo. It is a clever piece of showmanship and clearly enjoyed by the participator...
The item starts with the sound of the double bell and a weighted drum, followed by the recitative statement by the leader. Eventually the full chorus begins with a simple repeated refrain. The pauses in the drum rhythm mark the moment when one of the drummers throws up his drum into the air, catches it again between his knees and continues the rhythm without losing tempo. It is a clever piece of showmanship and clearly enjoyed by the participators in the dance.
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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.
×
Wachezalada wabyozakulya (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR150 (1950) , 1 page(s)
We should eat together, but that does not mean we should share the same woman.' The leader was dressed up in his dancing kit, with feather head dress, red ochre on the face and rag dress. The singers were workers on the Mwadui Diamond mines, recruited locally. The song features a character whom they call Sajeni Me...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR150 (1950) , 1 page(s)
Description
We should eat together, but that does not mean we should share the same woman.' The leader was dressed up in his dancing kit, with feather head dress, red ochre on the face and rag dress. The singers were workers on the Mwadui Diamond mines, recruited locally. The song features a character whom they call Sajeni Meja (Sergeant Major) no doubt on account of the fact that several of them served for a while in the K. A. R., the King's African Rifles....
We should eat together, but that does not mean we should share the same woman.' The leader was dressed up in his dancing kit, with feather head dress, red ochre on the face and rag dress. The singers were workers on the Mwadui Diamond mines, recruited locally. The song features a character whom they call Sajeni Meja (Sergeant Major) no doubt on account of the fact that several of them served for a while in the K. A. R., the King's African Rifles. During the singing they would call out the familiar cry used by the soldiers of the King's African Rifles.
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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
Song, Dance, Drum, Bell
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Wachezalada wabyozakulya (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR150 , 3 mins
We should eat together, but that does not mean we should share the same woman.' The leader was dressed up in his dancing kit, with feather head dress, red ochre on the face and rag dress. The singers were workers on the Mwadui Diamond mines, recruited locally. The song features a character whom they call Sajeni Me...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR150 , 3 mins
Description
We should eat together, but that does not mean we should share the same woman.' The leader was dressed up in his dancing kit, with feather head dress, red ochre on the face and rag dress. The singers were workers on the Mwadui Diamond mines, recruited locally. The song features a character whom they call Sajeni Meja (Sergeant Major) no doubt on account of the fact that several of them served for a while in the K. A. R., the King's African Rifles....
We should eat together, but that does not mean we should share the same woman.' The leader was dressed up in his dancing kit, with feather head dress, red ochre on the face and rag dress. The singers were workers on the Mwadui Diamond mines, recruited locally. The song features a character whom they call Sajeni Meja (Sergeant Major) no doubt on account of the fact that several of them served for a while in the K. A. R., the King's African Rifles. During the singing they would call out the familiar cry used by the soldiers of the King's African Rifles.
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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.
×
Wainaga (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR159 (1950) , 1 page(s)
This is an example of a song sung at the preliminary feast before circumcision. On the day before the event the people enjoy a great feast of many varieties of food and drink after which they sing these songs. Some of the verses are in the form of riddles and others may be both pointed and harsh.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR159 (1950) , 1 page(s)
Description
This is an example of a song sung at the preliminary feast before circumcision. On the day before the event the people enjoy a great feast of many varieties of food and drink after which they sing these songs. Some of the verses are in the form of riddles and others may be both pointed and harsh.
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
Piece, Dance, Vocals, group
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Wakazali Inhaminga (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR089 (1959) , 2 page(s)
The instruments were made in 1955. The main xylophone was played by an older boy (about seventeen years). They are very simple, frame xylophones, crudely made. The leader is called Nyanga and the other players are Anamovi. The instrument is three legged. The resonating gourds are fastened alternately up and down a...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR089 (1959) , 2 page(s)
Description
The instruments were made in 1955. The main xylophone was played by an older boy (about seventeen years). They are very simple, frame xylophones, crudely made. The leader is called Nyanga and the other players are Anamovi. The instrument is three legged. The resonating gourds are fastened alternately up and down as they are too large to place side by side. Two legs are fixed at the bass end and one at the treble, the structure being so constructe...
The instruments were made in 1955. The main xylophone was played by an older boy (about seventeen years). They are very simple, frame xylophones, crudely made. The leader is called Nyanga and the other players are Anamovi. The instrument is three legged. The resonating gourds are fastened alternately up and down as they are too large to place side by side. Two legs are fixed at the bass end and one at the treble, the structure being so constructed as to lean the instrument over towards the player.
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Date Written / Recorded
1959
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Luba-Kasai
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Wakazali Inhaminga (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR089 , 1 min
Inhaminga is the village in Mozambique beyond the Zambezi river from this district about 100 miles away to the south and about half way to the port of Beira. The drum is held horizontally between the knees, membrane facing outwards -- mirliton upwards, the player sitting on the ground. By raising and lowering his...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR089 , 1 min
Description
Inhaminga is the village in Mozambique beyond the Zambezi river from this district about 100 miles away to the south and about half way to the port of Beira. The drum is held horizontally between the knees, membrane facing outwards -- mirliton upwards, the player sitting on the ground. By raising and lowering his legs slightly the drummer presses the open end of the drum on and off his chest. The lower notes are produced while the orifice of the...
Inhaminga is the village in Mozambique beyond the Zambezi river from this district about 100 miles away to the south and about half way to the port of Beira. The drum is held horizontally between the knees, membrane facing outwards -- mirliton upwards, the player sitting on the ground. By raising and lowering his legs slightly the drummer presses the open end of the drum on and off his chest. The lower notes are produced while the orifice of the drum is off his chest. The drum which had a 7 inch membrance was 12 3/4 inches tall. The water-lizard skin was weighted with paste on the inner surface and was attached with wooden pins.
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Date Written / Recorded
1959
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.
×
Wakhala, wekha (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR098 (1958) , 2 page(s)
The song is said to have been sung when people were on the move. It appears to be a morality song. "Waklala wekha Wetaka withuwele Mwaklala eli Mwetaka mwithuwele Mwaklala athanu Mwetaka mwithuwele." (as written). " when you are alone, be careful when on the path. When you are two, also be careful. When you are ma...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR098 (1958) , 2 page(s)
Description
The song is said to have been sung when people were on the move. It appears to be a morality song. "Waklala wekha Wetaka withuwele Mwaklala eli Mwetaka mwithuwele Mwaklala athanu Mwetaka mwithuwele." (as written). " when you are alone, be careful when on the path. When you are two, also be careful. When you are many, also be careful." This song appears to be influenced by European teaching.
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, Song, Vocals, group
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Walalemela mugundu (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR157 (1950) , 1 page(s)
The Mangala dance is usually performed with bell rattles tied onto the ankles, the performers standing around the drums and occasionally dancing round in a circle with short shuffling steps. The bells are of two pitches, high and low, a pair being strapped to left and right ankles of each dancer.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR157 (1950) , 1 page(s)
Description
The Mangala dance is usually performed with bell rattles tied onto the ankles, the performers standing around the drums and occasionally dancing round in a circle with short shuffling steps. The bells are of two pitches, high and low, a pair being strapped to left and right ankles of each dancer.
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.
×
Walalemela mugundu (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR157 , 3 mins
The Mangala dance is usually performed with bell rattles tied onto the ankles, the performers standing around the drums and occasionally dancing round in a circle with short shuffling steps. The bells are of two pitches, high and low, a pair being strapped to left and right ankles of each dancer.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR157 , 3 mins
Description
The Mangala dance is usually performed with bell rattles tied onto the ankles, the performers standing around the drums and occasionally dancing round in a circle with short shuffling steps. The bells are of two pitches, high and low, a pair being strapped to left and right ankles of each dancer.
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.
×