Browse Titles - 2807 results
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Nyankabila, mama we (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR147 , 1 min
"Nyankabila lost himself in a far off land. His father longs for his return." This shape of instrument, they say, has been introduced from Ruanda-Urundi to the West. The shape of its resonating box is distinctive, the lower end being arched and concave, in place of the more usual plain rectangle. The scale was: 60...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR147 , 1 min
Description
"Nyankabila lost himself in a far off land. His father longs for his return." This shape of instrument, they say, has been introduced from Ruanda-Urundi to the West. The shape of its resonating box is distinctive, the lower end being arched and concave, in place of the more usual plain rectangle. The scale was: 600, 528, 464, 396, 368, 300.
Date Written / Recorded
1950
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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Nyilamba wa tala yakwe (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR151 (1950) , 1 page(s)
The player is a cripple who is well known in the district for his playing of the musical bow, which he frequently does for dances. The words sung by this cripple player are most indistinct, as he has no teeth. The tune is used in the Kazori dance performed in lines in front of the drums, girls in a double line and...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR151 (1950) , 1 page(s)
Description
The player is a cripple who is well known in the district for his playing of the musical bow, which he frequently does for dances. The words sung by this cripple player are most indistinct, as he has no teeth. The tune is used in the Kazori dance performed in lines in front of the drums, girls in a double line and boys in another double line behind. The lines keep time with the music and leap and move to leff and right together.
Date Written / Recorded
1950
Field of Study
World Music
Content Type
Field notes
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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Nyilamba wa tala yakwe (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR151 , 3 mins
The Nyilamba clan has a reputation for telling lies. So they say "When a Nyilamba comes to your house, give him food by himself where he cannot take part in the conversation or he will go away and distort what was said, and so make trouble for you." They Nyilamba come from the Singida District to the eastwards. Th...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR151 , 3 mins
Description
The Nyilamba clan has a reputation for telling lies. So they say "When a Nyilamba comes to your house, give him food by himself where he cannot take part in the conversation or he will go away and distort what was said, and so make trouble for you." They Nyilamba come from the Singida District to the eastwards. The recording was made at the Williamson Diamond Mine.
Date Written / Recorded
1950
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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Nyirandabyiguze (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR058 (1952) , 1 page(s)
"Mpagatare" A song in which the Batwa people ask the chief for a favour at the wedding. The similarity between the true Bambuti pigmy singing and these examples of songs by Batwa Pigmoids is noticeable.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR058 (1952) , 1 page(s)
Description
"Mpagatare" A song in which the Batwa people ask the chief for a favour at the wedding. The similarity between the true Bambuti pigmy singing and these examples of songs by Batwa Pigmoids is noticeable.
Date Written / Recorded
1952
Field of Study
World Music
Content Type
Field notes
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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Nyirandabyiguze (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR058 , 3 mins
Once in time of famine, a women went to look for food. Her search proving fruitless, in order to keep herself, she became a courtesan (she sold herself for food). This song is sung by small Batwa (pigmoid women) who sing in a style typical of their tribe with falling melodies and with clever hand clapping accompan...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR058 , 3 mins
Description
Once in time of famine, a women went to look for food. Her search proving fruitless, in order to keep herself, she became a courtesan (she sold herself for food). This song is sung by small Batwa (pigmoid women) who sing in a style typical of their tribe with falling melodies and with clever hand clapping accompaniment.
Date Written / Recorded
1952
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.
Tracks
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Nzaa ndume ta Gomba (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR160 , 2 mins
"I truly love you you. You have pale hands like a European."
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR160 , 2 mins
Description
"I truly love you you. You have pale hands like a European."
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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O Jele (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR092 (1958) , 2 page(s)
This song was sung very quietly. The names are girls names and the singer is outside the door asking to be letin. "Aye, aye anangondo tilowe Anangondo Aye aye aye anajere tilowe." " Aye, aye, Anangondo let me in. Anangondo aye, aye, ay. Anajere let me in."
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR092 (1958) , 2 page(s)
Description
This song was sung very quietly. The names are girls names and the singer is outside the door asking to be letin. "Aye, aye anangondo tilowe Anangondo Aye aye aye anajere tilowe." " Aye, aye, Anangondo let me in. Anangondo aye, aye, ay. Anajere let me in."
Date Written / Recorded
1958
Field of Study
World Music
Content Type
Field notes
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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O Jele (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR092 , 2 mins
"When you say the name of my husband, do not call him O Mwali, I call him Ojele." A song wich reflects a fine point of etiquette, the correct name of her husband. "Mna wanga msumati omwali Mnuwake Mkuti ojele, O-yi-yae, o-yi-yae, Mnuwake mkuti ojele."
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR092 , 2 mins
Description
"When you say the name of my husband, do not call him O Mwali, I call him Ojele." A song wich reflects a fine point of etiquette, the correct name of her husband. "Mna wanga msumati omwali Mnuwake Mkuti ojele, O-yi-yae, o-yi-yae, Mnuwake mkuti ojele."
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.
Tracks
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O Mama Lina, kuvimba mwaro (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR036 (1957) , 1 page(s)
Each woman had her own rattle. These were made of stout grass in raft form. The song is about a man who had 2 wives whom he could not support. So he gave everything to one and left the other weeping.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR036 (1957) , 1 page(s)
Description
Each woman had her own rattle. These were made of stout grass in raft form. The song is about a man who had 2 wives whom he could not support. So he gave everything to one and left the other weeping.
Date Written / Recorded
1957
Field of Study
World Music
Content Type
Field notes
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
O Mama Lina, kuvimba mwaro (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR036 , 3 mins
The 3 drums enter one after the other with the voices following. As usual it is the deepest toned drum Iyashina which plays most of the syncopation. The dance tunes of the Luvale people are severely stylized and this item is typical of its class.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR036 , 3 mins
Description
The 3 drums enter one after the other with the voices following. As usual it is the deepest toned drum Iyashina which plays most of the syncopation. The dance tunes of the Luvale people are severely stylized and this item is typical of its class.
Date Written / Recorded
1957
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.
×
