Browse Titles - 259 results
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Tshikona (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR193 (1957) , 1 page(s)
The drum was beaten by two men, each with one wooden beater. Each player holds one end-blown pipe and adds his single note to the ensemble as with bell ringers. They dance around the drums in an anti-clockwise circle, performing steps in unison changing the routine with different movements of the dance. Scale:—...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR193 (1957) , 1 page(s)
Description
The drum was beaten by two men, each with one wooden beater. Each player holds one end-blown pipe and adds his single note to the ensemble as with bell ringers. They dance around the drums in an anti-clockwise circle, performing steps in unison changing the routine with different movements of the dance. Scale:— 632, 520, 488, 432, 380, 348, 316, 280, 248, 228, 216.
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, Panpipe, Drum
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Tuimba nyondo, tuimbo tuwelela (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR183 , 3 mins
Drums. Kayanda -- conical, open, pegged and weighted (--14.2--). Mitumbwe -- goblet, pinned, closed and weighted (--14.52--). Ditumba -- goblet, pinned, closed, mirliton (--14.51251--). The drums enter one after the other and end in the same way. The difference between the weighted and unweighted membrane of the d...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR183 , 3 mins
Description
Drums. Kayanda -- conical, open, pegged and weighted (--14.2--). Mitumbwe -- goblet, pinned, closed and weighted (--14.52--). Ditumba -- goblet, pinned, closed, mirliton (--14.51251--). The drums enter one after the other and end in the same way. The difference between the weighted and unweighted membrane of the drums can be clearly heard -- lower in tone and also emitting a slightly slurred or portamento tone Mentone, while the unweighted drum s...
Drums. Kayanda -- conical, open, pegged and weighted (--14.2--). Mitumbwe -- goblet, pinned, closed and weighted (--14.52--). Ditumba -- goblet, pinned, closed, mirliton (--14.51251--). The drums enter one after the other and end in the same way. The difference between the weighted and unweighted membrane of the drums can be clearly heard -- lower in tone and also emitting a slightly slurred or portamento tone Mentone, while the unweighted drum sounds a clear hollow note.
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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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Tula bongela heya (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR148 , 1 min
The leader disapproved of the singing of the women who persisted in putting their black bourkas over their mouths. His 'tch-tch' can be clearly heard in his second song.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR148 , 1 min
Description
The leader disapproved of the singing of the women who persisted in putting their black bourkas over their mouths. His 'tch-tch' can be clearly heard in his second song.
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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Tumbo yangu inanibuma (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR163 (1950) , 1 page(s)
"My belly aches, my belly aches I must not eat pawpaws ever again." A most attractive little song in spite of its uncomfortable subject - It has a kind of mediaeval flavour.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR163 (1950) , 1 page(s)
Description
"My belly aches, my belly aches I must not eat pawpaws ever again." A most attractive little song in spite of its uncomfortable subject - It has a kind of mediaeval flavour.
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, Vocals, group
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Udina kuzara ndowayami (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR179 (1952) , 2 page(s)
"My wife is shivering." A short phrase is quite sufficient upon which to hang the melody and rhythm for the local dance. The Luunda come to the mines of the Copperbelt in large numbers from their homes in the northwestern districts of Northern Rhodesia. In common with many other African folk singers there is a gr...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR179 (1952) , 2 page(s)
Description
"My wife is shivering." A short phrase is quite sufficient upon which to hang the melody and rhythm for the local dance. The Luunda come to the mines of the Copperbelt in large numbers from their homes in the northwestern districts of Northern Rhodesia. In common with many other African folk singers there is a gradual rise in pitch during the song. The empty bottles of different sizes are struck with light pieces of iron such as 6" nails or smal...
"My wife is shivering." A short phrase is quite sufficient upon which to hang the melody and rhythm for the local dance. The Luunda come to the mines of the Copperbelt in large numbers from their homes in the northwestern districts of Northern Rhodesia. In common with many other African folk singers there is a gradual rise in pitch during the song. The empty bottles of different sizes are struck with light pieces of iron such as 6" nails or small bolts.
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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
Dance, Song, Bottle
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
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Udina kuzara ndowayami (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR179 , 3 mins
"My wife is shivering." A short phrase is quite sufficient upon which to hang the melody and rhythm for the local dance. The Luunda come to the mines of the Copperbelt in large numbers from their homes in the northwestern districts of Northern Rhodesia. In common with many other African folk singers there is a gr...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR179 , 3 mins
Description
"My wife is shivering." A short phrase is quite sufficient upon which to hang the melody and rhythm for the local dance. The Luunda come to the mines of the Copperbelt in large numbers from their homes in the northwestern districts of Northern Rhodesia. In common with many other African folk singers there is a gradual rise in pitch during the song. The empty bottles of different sizes are struck with light pieces of iron such as 6" nails or smal...
"My wife is shivering." A short phrase is quite sufficient upon which to hang the melody and rhythm for the local dance. The Luunda come to the mines of the Copperbelt in large numbers from their homes in the northwestern districts of Northern Rhodesia. In common with many other African folk singers there is a gradual rise in pitch during the song. The empty bottles of different sizes are struck with light pieces of iron such as 6" nails or small bolts.
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.
×
See details
Umanga ukasilagayo (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR149 (1950) , 1 page(s)
This song which is of very old origin, they say, has always been sung for the chief on special occasions. Recently (1950) it was sung to the retitire Provinvial Commissioner of the Western Province at Tabora.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR149 (1950) , 1 page(s)
Description
This song which is of very old origin, they say, has always been sung for the chief on special occasions. Recently (1950) it was sung to the retitire Provinvial Commissioner of the Western Province at Tabora.
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, Clapping, hand
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
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Umefika Marangu (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 (1950) , 1 page(s)
"You have come to Marangu." Marangu is the small village on the lower slopes of Mount Kilimanjaro. The first of these songs may not be an authentic Chaga song, but is rather similar to songs taught in the schools.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 (1950) , 1 page(s)
Description
"You have come to Marangu." Marangu is the small village on the lower slopes of Mount Kilimanjaro. The first of these songs may not be an authentic Chaga song, but is rather similar to songs taught in the schools.
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, Stamping, foot, Drum, bass, Sticks
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Umefika Marangu (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 , 2 mins
"You have come to Marangu." Marangu is the small village on the lower slopes of Mount Kilimanjaro. The first of these songs may not be an authentic Chaga song, but is rather similar to songs taught in the schools.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 , 2 mins
Description
"You have come to Marangu." Marangu is the small village on the lower slopes of Mount Kilimanjaro. The first of these songs may not be an authentic Chaga song, but is rather similar to songs taught in the schools.
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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Umtsha wam uyayizulisa ingqondo yam (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR061 (1957) , 1 page(s)
This group of young women wore pale blue and white blankets. There was only one married woman's bead headring, but the rest wore either black cloths or pale blue towels, swathed or placed on the head like crowns, in place of the headring. Many had beautiful and dignified faces. One wore her snuff spoon in her crow...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR061 (1957) , 1 page(s)
Description
This group of young women wore pale blue and white blankets. There was only one married woman's bead headring, but the rest wore either black cloths or pale blue towels, swathed or placed on the head like crowns, in place of the headring. Many had beautiful and dignified faces. One wore her snuff spoon in her crown.
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, Vocals, group
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
