Browse Titles - 752 results
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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.
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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.
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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.
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Bagbele (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR123 (1952) , 2 page(s)
The music for the Zande round dance. All the dancers perform the same steps in unison, short quick steps to and fro, turning into file and then facing inwards again, gradually moving around in an anti-clockwise direction. The enthusiasm of the Zande men and women for their Kponingbo xylophone dance has to be exper...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR123 (1952) , 2 page(s)
Description
The music for the Zande round dance. All the dancers perform the same steps in unison, short quick steps to and fro, turning into file and then facing inwards again, gradually moving around in an anti-clockwise direction. The enthusiasm of the Zande men and women for their Kponingbo xylophone dance has to be experienced to be fully appreciated. The dancers are caught in the swirl of the music and compel sympathetic action from everyone within ear...
The music for the Zande round dance. All the dancers perform the same steps in unison, short quick steps to and fro, turning into file and then facing inwards again, gradually moving around in an anti-clockwise direction. The enthusiasm of the Zande men and women for their Kponingbo xylophone dance has to be experienced to be fully appreciated. The dancers are caught in the swirl of the music and compel sympathetic action from everyone within earshot. The tuning of the xylophone was:-- 976, 880, 784, 672, 584, 488, 440, 392, 336, 292, 244 vs.
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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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Bagbele (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR123 , 3 mins
Bugu (-12.183-) slit drum beaten with sticks. Ndimu or Ndimo (14.03303-) membrane drum beaten with hand and stick. Andzolo (-12.55-) hand bells. The double headed drums may be beaten at either end according to the pitch of the note required by the player. The metal bells are pod shaped 3" long and are fixed onto w...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR123 , 3 mins
Description
Bugu (-12.183-) slit drum beaten with sticks. Ndimu or Ndimo (14.03303-) membrane drum beaten with hand and stick. Andzolo (-12.55-) hand bells. The double headed drums may be beaten at either end according to the pitch of the note required by the player. The metal bells are pod shaped 3" long and are fixed onto wooden handles. They are similar in shape to most dancing bells in Southern Africa which are worn elsewhere as anklets. The dancing of t...
Bugu (-12.183-) slit drum beaten with sticks. Ndimu or Ndimo (14.03303-) membrane drum beaten with hand and stick. Andzolo (-12.55-) hand bells. The double headed drums may be beaten at either end according to the pitch of the note required by the player. The metal bells are pod shaped 3" long and are fixed onto wooden handles. They are similar in shape to most dancing bells in Southern Africa which are worn elsewhere as anklets. The dancing of the Sudanic tribe of Zande people is most attractive. It is a round dance in which the movements of the dancers are not exaggerated but the routines are subtle and complex. The 'slit drums' in this region are made with feet and do not need insulating from the ground as with the simple cylindrical slit drums elsewhere. The feet emerge from the body of the slit drum at nodel points and so do not interfere with the resonance of the drum.
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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.
Tracks
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Bamba nzi munyika (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR046 (1957) , 1 page(s)
The singer had his nose pierced (the tip of the septum), which until recently was a common practice among Tonga.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR046 (1957) , 1 page(s)
Description
The singer had his nose pierced (the tip of the septum), which until recently was a common practice among Tonga.
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, Bow, musical, Kalumbo
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Banda mai dodile lulanda (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR183 (1957) , 1 page(s)
This rather rather unusual duet played by two elderly men on Chisanzhi and Dilele munenge flute is remarkable for the musicianship they display. When asked why they played music like this, they replied "To give our hearts courage." In view of the severe troubles with which they and their people were to be confront...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR183 (1957) , 1 page(s)
Description
This rather rather unusual duet played by two elderly men on Chisanzhi and Dilele munenge flute is remarkable for the musicianship they display. When asked why they played music like this, they replied "To give our hearts courage." In view of the severe troubles with which they and their people were to be confronted in the years ahead one can only hope that their music did indeed give them and their families that courage to face their ordeals in...
This rather rather unusual duet played by two elderly men on Chisanzhi and Dilele munenge flute is remarkable for the musicianship they display. When asked why they played music like this, they replied "To give our hearts courage." In view of the severe troubles with which they and their people were to be confronted in the years ahead one can only hope that their music did indeed give them and their families that courage to face their ordeals in the Kasai and the Katanga so shortly to overtake them. The flute player uses voiced notes while he blows. The music is sometimes played to the "Sultani," the chief, "in order to refresh his spirit." Nyundu Gabriel said that when he was feeling sad, tired or depressed he would play this music to cheer himself up. The Chisanzhi (Mbira) keeps up a fascinating accompaniment. (See also TR 39 and TR 40).
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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, Flute, Dilele munenge, Mbira, Mbira, chizanshi
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Bandametu womgeniso movement of Ngodo of Regulo Nyankowango 1955 (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR001 (1955) , 1 page(s)
The leader of this Tlmbila Orchestra is a well known player and composer, Hafu Kumbani, who has a large number of new Timbila tunes to his credit. The title 'Bandametu womgeniso' appears to be commonly used by the easter rather than the western Chopi. The Chopi clans which live to the east of the main body of th...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR001 (1955) , 1 page(s)
Description
The leader of this Tlmbila Orchestra is a well known player and composer, Hafu Kumbani, who has a large number of new Timbila tunes to his credit. The title 'Bandametu womgeniso' appears to be commonly used by the easter rather than the western Chopi. The Chopi clans which live to the east of the main body of the tribe, are said to have intermarried with the GiTonga tribe of the Inhambane District and to speak a distinctive dialect. Those who k...
The leader of this Tlmbila Orchestra is a well known player and composer, Hafu Kumbani, who has a large number of new Timbila tunes to his credit. The title 'Bandametu womgeniso' appears to be commonly used by the easter rather than the western Chopi. The Chopi clans which live to the east of the main body of the tribe, are said to have intermarried with the GiTonga tribe of the Inhambane District and to speak a distinctive dialect. Those who know the Chopi well, claim that this can also be detected in the style of their playing and dancing and in the tunings of their Timbila xylophones. Regulo Nyankowango is considered to be one of the minor chiefs under Regulo Mikumbi of the Inharrime District. Living as they do to the east of the central Chopi, their dialect is distirctive and influenced by the GiTonga of the Inhambane District.
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Date Written / Recorded
1955
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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