Browse Titles - 1347 results
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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.
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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
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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.
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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.
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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.
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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.
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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.
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Awu mungoya wetu amusolile konongo Part III (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR155 , 4 mins
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 , 4 mins
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
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
Ayaas imoo esosi ka sogoli (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR130 (1950) , 1 page(s)
CA. "Yaleama Kapeni Kokileni-Keni Yalama Kapeni." The akisuku dance is done by men and women in two rows shoulder to shoulder. They spring into the air in unison without apparently moving arms or legs but with a clear straight spring, up and down in time with the music.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR130 (1950) , 1 page(s)
Description
CA. "Yaleama Kapeni Kokileni-Keni Yalama Kapeni." The akisuku dance is done by men and women in two rows shoulder to shoulder. They spring into the air in unison without apparently moving arms or legs but with a clear straight spring, up and down in time with the music.
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, Clapping, hand
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Ayaas imoo esosi ka sogoli (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR130 , 1 min
CA. "Yaleama Kapeni Kokileni-Keni Yalama Kapeni." The akisuku dance is done by men and women in two rows shoulder to shoulder. They spring into the air in unison without apparently moving arms or legs but with a clear straight spring, up and down in time with the music.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR130 , 1 min
Description
CA. "Yaleama Kapeni Kokileni-Keni Yalama Kapeni." The akisuku dance is done by men and women in two rows shoulder to shoulder. They spring into the air in unison without apparently moving arms or legs but with a clear straight spring, up and down in time with the music.
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
Ayambungu (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR121 (1952) , 1 page(s)
These Ngombi Likembe (Mbira) are played with the instrument slung from the players shoulders. They are too large and heavy to be held between the hands as with the majority of this type, and as a consequence the bamboo reeds or tongues are plucked downwards with the tips of the fingers with open palms. It is used...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR121 (1952) , 1 page(s)
Description
These Ngombi Likembe (Mbira) are played with the instrument slung from the players shoulders. They are too large and heavy to be held between the hands as with the majority of this type, and as a consequence the bamboo reeds or tongues are plucked downwards with the tips of the fingers with open palms. It is used as a rhythmic rather than a melodic instrument. In our experience only the Pedi of the N. Transvaal, South Africa, play this instrument...
These Ngombi Likembe (Mbira) are played with the instrument slung from the players shoulders. They are too large and heavy to be held between the hands as with the majority of this type, and as a consequence the bamboo reeds or tongues are plucked downwards with the tips of the fingers with open palms. It is used as a rhythmic rather than a melodic instrument. In our experience only the Pedi of the N. Transvaal, South Africa, play this instrument in similar manner. The instrument is resonated on a large closed wooden bowl, oval in shape, 17 inches long by 13 inches broad and 5 inches deep, with a handle 5 inches long and a tail 2 inches long. A triangular sound hole is cut into the flat top immediately beneath the free ends of the bamboo notes. It is tuned to a pentatonic scale of the following notes in order left to right. 296, 148, 268, 134, 228, 200, 178, 356 vs. If 134 vs. is the Tonic, it would indicate that the player is using both the true harmonic 4th (178vs.) and 5th (200 vs.) The beating of the bamboo pole sounds almost like marching feet, and both this and the Ngombi are drowned by the strength of the voices.
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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
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Bafazi bomthandazo (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR060 (1957) , 2 page(s)
The leading girl sings the melody at a lower pitch than the accompaniment sung by the chorus. This song is in praise of Fasonti
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR060 (1957) , 2 page(s)
Description
The leading girl sings the melody at a lower pitch than the accompaniment sung by the chorus. This song is in praise of Fasonti
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.
×
