Browse Titles - 43 results
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Ope (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR126 (1952) , 2 page(s)
Most of the native notables another functionaries are carried around the country from place to place in sedan chairs locally called "tipoyi." the carriers have evolved their own "tipoyi" songs and dances.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR126 (1952) , 2 page(s)
Description
Most of the native notables another functionaries are carried around the country from place to place in sedan chairs locally called "tipoyi." the carriers have evolved their own "tipoyi" songs and dances.
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, African Drumming, Bell, Rattle, basket, Horn
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Satani kwa pilu tata (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR184 (1957) , 1 page(s)
This is a dance performed at feasts of rejoicing such as the majority of a man on taking over from his dead father, or at the maturity of a girl. The recording was made at the museum at Livingstone where the performers were engaged as full-time musicians to play for the museum visitors. (See also TR-67 B-1). The s...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR184 (1957) , 1 page(s)
Description
This is a dance performed at feasts of rejoicing such as the majority of a man on taking over from his dead father, or at the maturity of a girl. The recording was made at the museum at Livingstone where the performers were engaged as full-time musicians to play for the museum visitors. (See also TR-67 B-1). The slit drum was cracked and did not emit the usual clear tune of these gongs. The order of appearance of each instrument is as follows: --...
This is a dance performed at feasts of rejoicing such as the majority of a man on taking over from his dead father, or at the maturity of a girl. The recording was made at the museum at Livingstone where the performers were engaged as full-time musicians to play for the museum visitors. (See also TR-67 B-1). The slit drum was cracked and did not emit the usual clear tune of these gongs. The order of appearance of each instrument is as follows: -- the tall conical drum starts: then at 10 seconds the slit drum or gong; at 23 seconds the xylophone; at 37 seconds the friction drum. At the end of the recording at 2 minutes 37 seconds, the friction drum plays alone. "Satani has a bad heart, he can eat himself, like those who practice medicine murder." This was the translation given. It no doubt indicated cannibalism. "He can eat (people) himself."
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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
Dance, African Drumming, Mbira, Mbira, kangombio
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Siyemboka (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR184 , 3 mins
This is a dance performed at feasts of rejoicing such as the majority of a man on taking over from his dead father, or at the maturity of a girl. The recording was made at the museum at Livingstone where the performers were engaged as full-time musicians to play for the museum visitors. (See also TR-67 B-1). The s...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR184 , 3 mins
Description
This is a dance performed at feasts of rejoicing such as the majority of a man on taking over from his dead father, or at the maturity of a girl. The recording was made at the museum at Livingstone where the performers were engaged as full-time musicians to play for the museum visitors. (See also TR-67 B-1). The slit drum was cracked and did not emit the usual clear tune of these gongs. The order of appearance of each instrument is as follows: --...
This is a dance performed at feasts of rejoicing such as the majority of a man on taking over from his dead father, or at the maturity of a girl. The recording was made at the museum at Livingstone where the performers were engaged as full-time musicians to play for the museum visitors. (See also TR-67 B-1). The slit drum was cracked and did not emit the usual clear tune of these gongs. The order of appearance of each instrument is as follows: -- the tall conical drum starts: then at 10 seconds the slit drum or gong
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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.
Tracks
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A speech (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR126 (1952) , 1 page(s)
The chief made this speech to all the assembled dancers, musicians and people -- who replied with enthusiasm in the traditional manner.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR126 (1952) , 1 page(s)
Description
The chief made this speech to all the assembled dancers, musicians and people -- who replied with enthusiasm in the traditional manner.
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, African Drumming, Horn, ivory
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
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Tilenjela anthudazi Citawala, 2nd 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 are greeting you all. Our 'Gwelo' Band will dance different steps for you." Many of these groups give themselves the names of towns in the south. This one calls itself after Gwelo in the S. Rhodesian midlands.
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 are greeting you all. Our 'Gwelo' Band will dance different steps for you." Many of these groups give themselves the names of towns in the south. This one calls itself after Gwelo in the S. Rhodesian midlands.
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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Tilenjela anthudazi Citawala, 2nd movement (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 , 3 mins
"We are greeting you all. Our 'Gwelo' Band will dance different steps for you." Many of these groups give themselves the names of towns in the south. This one calls itself after Gwelo in the S. Rhodesian midlands.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 , 3 mins
Description
"We are greeting you all. Our 'Gwelo' Band will dance different steps for you." Many of these groups give themselves the names of towns in the south. This one calls itself after Gwelo in the S. Rhodesian midlands.
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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The Venda Drummers
produced by Robin Hogarth, 1948- (ARC Music Productions, 2002), 1 hour 16 mins
Sample
produced by Robin Hogarth, 1948- (ARC Music Productions, 2002), 1 hour 16 mins
Date Written / Recorded
2001
Field of Study
World Music
Content Type
Music recording
Contributor
Peter Thwaites, fl. 1977, Robin Hogarth, 1948-
Date Published / Released
2002
Publisher
ARC Music Productions
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Yando (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR126 , 3 mins
A dance for festive occasions. The Buudu is a Bantu tribe which has moved across westwards from the Ruwenzori mountains about 300 miles to the present locality. They are unusually dark-skinned for Bantu and use a variety of musical instruments, relying mostly on slit drums for their dance music. Slit drums are com...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR126 , 3 mins
Description
A dance for festive occasions. The Buudu is a Bantu tribe which has moved across westwards from the Ruwenzori mountains about 300 miles to the present locality. They are unusually dark-skinned for Bantu and use a variety of musical instruments, relying mostly on slit drums for their dance music. Slit drums are common because large timber is plentiful but cattle or antelope skins rare for the making of membranes. The membranes of their conical dru...
A dance for festive occasions. The Buudu is a Bantu tribe which has moved across westwards from the Ruwenzori mountains about 300 miles to the present locality. They are unusually dark-skinned for Bantu and use a variety of musical instruments, relying mostly on slit drums for their dance music. Slit drums are common because large timber is plentiful but cattle or antelope skins rare for the making of membranes. The membranes of their conical drums are therefore usually made from elephant ears.
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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.
Tracks
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Zore I (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 , 1 min
2 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horn. The 2 Kisisu drums were played by one man who beat an irr...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 , 1 min
Description
2 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horn. The 2 Kisisu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges....
2 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horn. The 2 Kisisu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The main dance of the GiTonga appears to be a kind of violent dance du ventre in which the hips and belly are rolled and shaken—the women and men coming out in pairs to dance in the centre of the ring. In both Zore II and III the order of appearance of the instruments is:— First Kirisu drums, then the 2 Chohodwani drums, then the Shikulu and then the corrugated iron Tsakara. The GiTonga dances are among the most deafening in Africa. The volume of sound within the circle of spectators, drummers and dancers must approach, if not exceed, the threshold of pain in the ears.
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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.
Tracks
×
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Zore II (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 (1963) , 2 page(s)
3 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horThe 2 Kisisu drums were played by one man who beat an irregu...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 (1963) , 2 page(s)
Description
3 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horThe 2 Kisisu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The...
3 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horThe 2 Kisisu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The main dance of the GiTonga appears to be a kind of violent dance du ventre in which the hips and belly are rolled and shaken—the women and men coming out in pairs to dance in the centre of the ring. In both Zore II and III the order of appearance of the instruments is:— First Kirisu drums, then the 2 Chohodwani drums, then the Shikulu and then the corrugated iron Tsakara. The GiTonga dances are among the most deafening in Africa. The volume of sound within the circle of spectators, drummers and dancers must approach, if not exceed, the threshold of pain in the ears.
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Date Written / Recorded
1963
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, Drum, Rattle, Clapper
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
