Browse Titles - 1711 results
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Aliyeli nitauzeni (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR090 (1958) , 2 page(s)
"To play the 'Kalimba' is to be happy. I remember long ago when I was a small child When I thought that a breast was made of bone But my mother told me that the breast was not bone, but flesh only. I was fooled long ago -- I thought the breast was bone but it it flesh only. Listen my friends. The breast is flesh o...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR090 (1958) , 2 page(s)
Description
"To play the 'Kalimba' is to be happy. I remember long ago when I was a small child When I thought that a breast was made of bone But my mother told me that the breast was not bone, but flesh only. I was fooled long ago -- I thought the breast was bone but it it flesh only. Listen my friends. The breast is flesh only." It seems tha the obvious meaning of the words is intended to serve a secondry one. Perhaps the reveleation of the beginning of hi...
"To play the 'Kalimba' is to be happy. I remember long ago when I was a small child When I thought that a breast was made of bone But my mother told me that the breast was not bone, but flesh only. I was fooled long ago -- I thought the breast was bone but it it flesh only. Listen my friends. The breast is flesh only." It seems tha the obvious meaning of the words is intended to serve a secondry one. Perhaps the reveleation of the beginning of his natural sex life.
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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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Aliyeli nitauzeni (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR090 , 2 mins
"Aliyeli, greet me, Iam a small child. Aliyeli, write a letter. Aliyeli, I came from afar." The burden of the song would appear to be that a young woman about to have her first child is trying to make contact with her man, now that she is about to bear (with difficulty) her first child.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR090 , 2 mins
Description
"Aliyeli, greet me, Iam a small child. Aliyeli, write a letter. Aliyeli, I came from afar." The burden of the song would appear to be that a young woman about to have her first child is trying to make contact with her man, now that she is about to bear (with difficulty) her first child.
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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Alume yerani malo (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR162 (1950) , 1 page(s)
The singer calls to those behind to hurry and catch up with the dance team as they are going to a big dance competition. This item is a fascinating example of the authentic 2 against 3 African cross rhythm.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR162 (1950) , 1 page(s)
Description
The singer calls to those behind to hurry and catch up with the dance team as they are going to a big dance competition. This item is a fascinating example of the authentic 2 against 3 African cross rhythm.
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, Rattle, Kayamba, Clapping, hand
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
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Alume yerani malo (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR162 , 3 mins
The singer calls to those behind to hurry and catch up with the dance team as they are going to a big dance competition. This item is a fascinating example of the authentic 2 against 3 African cross rhythm.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR162 , 3 mins
Description
The singer calls to those behind to hurry and catch up with the dance team as they are going to a big dance competition. This item is a fascinating example of the authentic 2 against 3 African cross rhythm.
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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Amabele-o-iye (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR125 (1952) , 2 page(s)
The tunning of the set of pipes was: 912, 792, 688, 592, 528, 472, 408, 356, 296, 264. The top three pipes are not true octaves. The name of the village means "Two Trees". The end blown flutes were kept for the use of the Pygmies by the Bantu of the Nande tribe while live just outside the Ituri forest, but their...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR125 (1952) , 2 page(s)
Description
The tunning of the set of pipes was: 912, 792, 688, 592, 528, 472, 408, 356, 296, 264. The top three pipes are not true octaves. The name of the village means "Two Trees". The end blown flutes were kept for the use of the Pygmies by the Bantu of the Nande tribe while live just outside the Ituri forest, but their activities whenever they come out to the edge of the forest, ordering them about like unpaid servants. This set of pipes, end blown fl...
The tunning of the set of pipes was: 912, 792, 688, 592, 528, 472, 408, 356, 296, 264. The top three pipes are not true octaves. The name of the village means "Two Trees". The end blown flutes were kept for the use of the Pygmies by the Bantu of the Nande tribe while live just outside the Ituri forest, but their activities whenever they come out to the edge of the forest, ordering them about like unpaid servants. This set of pipes, end blown flutes, appear to have been made by the Nande and not the Pygmies themselves. They cannot therefore be said with certainty to reflect the innate scale of the Mambuti but rather of the Nande. The embouchure is the shape commonly found in these districts being made by two cuts of the knife, one short (held against the lower lip) and one long. The tunning of the set of pipes was:— 912, 792, 688, 592, 528, 472, 408, 356, 296, 264. The top three pipes are not true octaves. The name of the village means "Two Trees". The end blown flutes were kept for the use of the Pygmies by the Bantu of the Nande tribe while live just outside the Ituri forest, but their activities whenever they come out to the edge of the forest, ordering them about like unpaid servants. This set of pipes, end blown flutes, appear to have been made by the Nande and not the Pygmies themselves. They cannot therefore be said with certainty to reflect the innate scale of the Mambuti but rather of the Nande. The embouchure is the shape commonly found in these districts being made by two cuts of the knife, one short (held against the lower lip) and one long.
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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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Amabele-o-iye (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR125 , 1 min
These three songs were sung by three very small pygmy women all crouching on the ground close together. Their songs, it is said, are composed mostly of vowel sounds or very simple words without much attempt to form a lyric. They were clothed only in a small strip of cloth each strung between the legs with each end...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR125 , 1 min
Description
These three songs were sung by three very small pygmy women all crouching on the ground close together. Their songs, it is said, are composed mostly of vowel sounds or very simple words without much attempt to form a lyric. They were clothed only in a small strip of cloth each strung between the legs with each end supported by a waist band of bark string. Each had a single string of beads around the neck and black markings were painted on their f...
These three songs were sung by three very small pygmy women all crouching on the ground close together. Their songs, it is said, are composed mostly of vowel sounds or very simple words without much attempt to form a lyric. They were clothed only in a small strip of cloth each strung between the legs with each end supported by a waist band of bark string. Each had a single string of beads around the neck and black markings were painted on their faces and necks. These songs, they said, could also be used as lullabies. At the end of the second and third items the bleat of a goat kid can be heard.
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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.
×
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Amacila kuwowa, Kwathu ntele (Joined) (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR191 (1950) , 1 page(s)
Two songs for carrying Mashila. The old practice of carrying White men, chiefs or notables about in litters has now ceased with the advent of roads and mechanical transport—but the song was sung by the father of the present singers up till about 1930, they say.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR191 (1950) , 1 page(s)
Description
Two songs for carrying Mashila. The old practice of carrying White men, chiefs or notables about in litters has now ceased with the advent of roads and mechanical transport—but the song was sung by the father of the present singers up till about 1930, they say.
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, Vocals, group
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Amacila kuwowa, Kwathu ntele (Joined) (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR191 , 3 mins
"I do not like this never ending pounding." Two simple pounding songs in which the one girl echoes the other as they pound in the sam mortar with alternate strokes. This echoing style of singing is also used for their rain songs (see TR-190) and at first hearing leaves an impression of confusion rather than inten...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR191 , 3 mins
Description
"I do not like this never ending pounding." Two simple pounding songs in which the one girl echoes the other as they pound in the sam mortar with alternate strokes. This echoing style of singing is also used for their rain songs (see TR-190) and at first hearing leaves an impression of confusion rather than intent.
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
Amadoda e Lenge = Men of Lenge (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR010 (1955) , 1 page(s)
Two tunes learnt or composed by L. Shandu during his childhood when he was a herdboy tending cattle. The theme of the 'unkind mother' is fairly common.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR010 (1955) , 1 page(s)
Description
Two tunes learnt or composed by L. Shandu during his childhood when he was a herdboy tending cattle. The theme of the 'unkind mother' is fairly common.
Date Written / Recorded
1955
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Song, Flute, Igekle
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Amadoda e Lenge = Men of Lenge (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR010 , 1 min
Two tunes learnt or composed by L. Shandu during his childhood when he was a herdboy tending cattle. The theme of the 'unkind mother' is fairly common.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR010 , 1 min
Description
Two tunes learnt or composed by L. Shandu during his childhood when he was a herdboy tending cattle. The theme of the 'unkind mother' is fairly common.
Date Written / Recorded
1955
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.
×
