Browse Titles - 259 results
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Cilondola mileka (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR191 , 1 min
The string often needs a new palm leaf friction pad and the pitch of the tonic or string note may be changed frequently. The 'resin' of the reed bow is spittle and needs renewing between each verse. This is done by switfly passing the bow over the tongue of the player. The palm leaf friction pad is made by winding...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR191 , 1 min
Description
The string often needs a new palm leaf friction pad and the pitch of the tonic or string note may be changed frequently. The 'resin' of the reed bow is spittle and needs renewing between each verse. This is done by switfly passing the bow over the tongue of the player. The palm leaf friction pad is made by winding a strip of left onto the single string near its resonator at a convenient spot for bowing. It serves not only as a friction pad but al...
The string often needs a new palm leaf friction pad and the pitch of the tonic or string note may be changed frequently. The 'resin' of the reed bow is spittle and needs renewing between each verse. This is done by switfly passing the bow over the tongue of the player. The palm leaf friction pad is made by winding a strip of left onto the single string near its resonator at a convenient spot for bowing. It serves not only as a friction pad but also protects the bark string from wearing away at that spot.
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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.
Tracks
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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)
A good example of Malipenga playing and dancing. This is the opening movement of the dance. The word Muganda which is the name of this dance is taken from the sound of the drums which accompany the singing gourds. "Men and women, togeher with the chief, you have come here to see the clever dancers. We come from to...
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
A good example of Malipenga playing and dancing. This is the opening movement of the dance. The word Muganda which is the name of this dance is taken from the sound of the drums which accompany the singing gourds. "Men and women, togeher with the chief, you have come here to see the clever dancers. We come from towns where we sing like church organs." Are two melodies for this 2nd movement. There are two movements in the Mugunda dance, the second...
A good example of Malipenga playing and dancing. This is the opening movement of the dance. The word Muganda which is the name of this dance is taken from the sound of the drums which accompany the singing gourds. "Men and women, togeher with the chief, you have come here to see the clever dancers. We come from towns where we sing like church organs." Are two melodies for this 2nd movement. There are two movements in the Mugunda dance, the second is performed with drums only and without the Malipenga gourds.
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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, Drum
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
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Citawala 2nd movement (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 , 1 min
A good example of Malipenga playing and dancing. This is the opening movement of the dance. The word Muganda which is the name of this dance is taken from the sound of the drums which accompany the singing gourds. "Men and women, togeher with the chief, you have come here to see the clever dancers. We come from to...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 , 1 min
Description
A good example of Malipenga playing and dancing. This is the opening movement of the dance. The word Muganda which is the name of this dance is taken from the sound of the drums which accompany the singing gourds. "Men and women, togeher with the chief, you have come here to see the clever dancers. We come from towns where we sing like church organs." Are two melodies for this 2nd movement. There are two movements in the Mugunda dance, the second...
A good example of Malipenga playing and dancing. This is the opening movement of the dance. The word Muganda which is the name of this dance is taken from the sound of the drums which accompany the singing gourds. "Men and women, togeher with the chief, you have come here to see the clever dancers. We come from towns where we sing like church organs." Are two melodies for this 2nd movement. There are two movements in the Mugunda dance, the second is performed with drums only and without the Malipenga gourds.
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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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Dikitari Tiyakuyia (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR146 (1950) , 1 page(s)
The hospital is a good place and should not be burnt down. Why, I myself was once treated there.' A sentiment which could be echoed through many regions of Africa where rioters are nototious for burning down hospitals, clinics and schools.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR146 (1950) , 1 page(s)
Description
The hospital is a good place and should not be burnt down. Why, I myself was once treated there.' A sentiment which could be echoed through many regions of Africa where rioters are nototious for burning down hospitals, clinics and 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, Drum, Rattle, Clapping, hand
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
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Dikitari Tiyakuyia (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR146 , 3 mins
The hospital is a good place and should not be burnt down. Why, I myself was once treated there.' A sentiment which could be echoed through many regions of Africa where rioters are nototious for burning down hospitals, clinics and schools.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR146 , 3 mins
Description
The hospital is a good place and should not be burnt down. Why, I myself was once treated there.' A sentiment which could be echoed through many regions of Africa where rioters are nototious for burning down hospitals, clinics and schools.
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
Dikumbi (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR184 (1957) , 2 page(s)
The music of this region, which includes a part of northwestern Northern Rhodesia, southern Congo and Angola, is quite distinctive on account of the melodic structure and local sense of harmony. No Bantu other than the group of tribes which inhabit this small area care for Luchazi music, rejecting it utterly as in...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR184 (1957) , 2 page(s)
Description
The music of this region, which includes a part of northwestern Northern Rhodesia, southern Congo and Angola, is quite distinctive on account of the melodic structure and local sense of harmony. No Bantu other than the group of tribes which inhabit this small area care for Luchazi music, rejecting it utterly as incomprehensible. The tuning of the Chisanzhi was: -- 512, 424, 388, 348, 320, 276, 256 vs. The array of notes or reeds was set out four...
The music of this region, which includes a part of northwestern Northern Rhodesia, southern Congo and Angola, is quite distinctive on account of the melodic structure and local sense of harmony. No Bantu other than the group of tribes which inhabit this small area care for Luchazi music, rejecting it utterly as incomprehensible. The tuning of the Chisanzhi was: -- 512, 424, 388, 348, 320, 276, 256 vs. The array of notes or reeds was set out four on the side and the sequence of the scale was alternate from left to right. The two outside reeds being the same pitch 512 vs. This arrangement is convenient for playing the runs as heard in this recording, with alternating thumbs.
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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, Song, Mbira, Mbira, chizanshi, Whistle
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
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Dikumbi (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR184 , 3 mins
The music of this region, which includes a part of northwestern Northern Rhodesia, southern Congo and Angola, is quite distinctive on account of the melodic structure and local sense of harmony. No Bantu other than the group of tribes which inhabit this small area care for Luchazi music, rejecting it utterly as in...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR184 , 3 mins
Description
The music of this region, which includes a part of northwestern Northern Rhodesia, southern Congo and Angola, is quite distinctive on account of the melodic structure and local sense of harmony. No Bantu other than the group of tribes which inhabit this small area care for Luchazi music, rejecting it utterly as incomprehensible. The tuning of the Chisanzhi was: -- 512, 424, 388, 348, 320, 276, 256 vs. The array of notes or reeds was set out four...
The music of this region, which includes a part of northwestern Northern Rhodesia, southern Congo and Angola, is quite distinctive on account of the melodic structure and local sense of harmony. No Bantu other than the group of tribes which inhabit this small area care for Luchazi music, rejecting it utterly as incomprehensible. The tuning of the Chisanzhi was: -- 512, 424, 388, 348, 320, 276, 256 vs. The array of notes or reeds was set out four on the side and the sequence of the scale was alternate from left to right. The two outside reeds being the same pitch 512 vs. This arrangement is convenient for playing the runs as heard in this recording, with alternating thumbs.
Show more
Show less
Date Written / Recorded
1957
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
×
See details
Donga kuchikongwelo (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR184 , 3 mins
The music of this region, which includes a part of northwestern Northern Rhodesia, southern Congo and Angola, is quite distinctive on account of the melodic structure and local sense of harmony. No Bantu other than the group of tribes which inhabit this small area care for Luchazi music, rejecting it utterly as in...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR184 , 3 mins
Description
The music of this region, which includes a part of northwestern Northern Rhodesia, southern Congo and Angola, is quite distinctive on account of the melodic structure and local sense of harmony. No Bantu other than the group of tribes which inhabit this small area care for Luchazi music, rejecting it utterly as incomprehensible. The tuning of the Chisanzhi was: -- 512, 424, 388, 348, 320, 276, 256 vs. The array of notes or reeds was set out four...
The music of this region, which includes a part of northwestern Northern Rhodesia, southern Congo and Angola, is quite distinctive on account of the melodic structure and local sense of harmony. No Bantu other than the group of tribes which inhabit this small area care for Luchazi music, rejecting it utterly as incomprehensible. The tuning of the Chisanzhi was: -- 512, 424, 388, 348, 320, 276, 256 vs. The array of notes or reeds was set out four on the side and the sequence of the scale was alternate from left to right. The two outside reeds being the same pitch 512 vs. This arrangement is convenient for playing the runs as heard in this recording, with alternating thumbs.
Show more
Show less
Date Written / Recorded
1957
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
Ebyana bigendo mungolo (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR147 (1950) , 2 page(s)
Come here and I will give you more land. The Chief is pleased with the work of his headman.' Four men and women were playing the one drum, each beating out his own rhythm on his quarter of the membrane. Strangely enough this did not deaden the sound as one might have expected. Before the drum maker closes up his l...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR147 (1950) , 2 page(s)
Description
Come here and I will give you more land. The Chief is pleased with the work of his headman.' Four men and women were playing the one drum, each beating out his own rhythm on his quarter of the membrane. Strangely enough this did not deaden the sound as one might have expected. Before the drum maker closes up his laced drum he places a small stone inside. This they call 'Moyo wengoma,' the drum's heart. It does not serve any musical purpose but is...
Come here and I will give you more land. The Chief is pleased with the work of his headman.' Four men and women were playing the one drum, each beating out his own rhythm on his quarter of the membrane. Strangely enough this did not deaden the sound as one might have expected. Before the drum maker closes up his laced drum he places a small stone inside. This they call 'Moyo wengoma,' the drum's heart. It does not serve any musical purpose but is found in every drum in the region.
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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, Drum
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Ebyana bigendo mungolo (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR147 , 3 mins
Come here and I will give you more land. The Chief is pleased with the work of his headman.' Four men and women were playing the one drum, each beating out his own rhythm on his quarter of the membrane. Strangely enough this did not deaden the sound as one might have expected. Before the drum maker closes up his l...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR147 , 3 mins
Description
Come here and I will give you more land. The Chief is pleased with the work of his headman.' Four men and women were playing the one drum, each beating out his own rhythm on his quarter of the membrane. Strangely enough this did not deaden the sound as one might have expected. Before the drum maker closes up his laced drum he places a small stone inside. This they call 'Moyo wengoma,' the drum's heart. It does not serve any musical purpose but is...
Come here and I will give you more land. The Chief is pleased with the work of his headman.' Four men and women were playing the one drum, each beating out his own rhythm on his quarter of the membrane. Strangely enough this did not deaden the sound as one might have expected. Before the drum maker closes up his laced drum he places a small stone inside. This they call 'Moyo wengoma,' the drum's heart. It does not serve any musical purpose but is found in every drum in the region.
Show more
Show less
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.
×
