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Chibudo movement of Ngodo of Repulo Banguza 1955 Part I (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR005 , 3 mins
a, b & c) '1 his IS the first recording ever to be published of a complete Ngodo of a Chopi 'Timbila orchestra. The orchestra featured is the senior orchestra of the district, although not that of the Paramount Chief. Wani Zavala. The leader Komukomu, has been art outstanding xylophone player and composer for the...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR005 , 3 mins
Description
a, b & c) '1 his IS the first recording ever to be published of a complete Ngodo of a Chopi 'Timbila orchestra. The orchestra featured is the senior orchestra of the district, although not that of the Paramount Chief. Wani Zavala. The leader Komukomu, has been art outstanding xylophone player and composer for the past 20 years. This recording represents his orchestral dance for the year 1955. As new tunes are composed they are added to or substit...
a, b & c) '1 his IS the first recording ever to be published of a complete Ngodo of a Chopi 'Timbila orchestra. The orchestra featured is the senior orchestra of the district, although not that of the Paramount Chief. Wani Zavala. The leader Komukomu, has been art outstanding xylophone player and composer for the past 20 years. This recording represents his orchestral dance for the year 1955. As new tunes are composed they are added to or substituted for the older movement. The Ngodo is introduced by 3 orchestral items, in which the virtuosity of the players of the 'Timbila xylophones is heard to good effect. It is the ambition of each orchestral leader to compose excellent introductions to his own village dance. There are no lyrics set to these Msitso. d) Ngeniso: The Entry of the Dancers, is the first movement introducing the dancers when they file onto the dance floor and take up their position in line facing the orchestra. e) Ndano: The Call, is marked by an opening cry by the dancers who now throw themselves into the performance in earnest. f) Mchuio : is considered to be the main athletic dance of the Ngodo performed while the dancers are still fresh. It is a most vital and lively dance. g) Chlbudo: The Coming out
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Date Written / Recorded
1955
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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Chibudu (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR197 , 2 mins
Here at Zavala the Sange Timbila is so called Sanzhi. The orchestra consisted of 2 Chilanzani Treble xylophones. 8 Sange Alto xylophones, 3 Debiinda Bass xylophones, 2 Gulu Double bass Xylophones and 4 Njele Rattles. The morning on which this was recorded was very wild and wet, just after a severe storm off the se...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR197 , 2 mins
Description
Here at Zavala the Sange Timbila is so called Sanzhi. The orchestra consisted of 2 Chilanzani Treble xylophones. 8 Sange Alto xylophones, 3 Debiinda Bass xylophones, 2 Gulu Double bass Xylophones and 4 Njele Rattles. The morning on which this was recorded was very wild and wet, just after a severe storm off the sea. The wind was still high and the rain falling in gusts. In the circumstances it was remarkable that the musicians and dancers could p...
Here at Zavala the Sange Timbila is so called Sanzhi. The orchestra consisted of 2 Chilanzani Treble xylophones. 8 Sange Alto xylophones, 3 Debiinda Bass xylophones, 2 Gulu Double bass Xylophones and 4 Njele Rattles. The morning on which this was recorded was very wild and wet, just after a severe storm off the sea. The wind was still high and the rain falling in gusts. In the circumstances it was remarkable that the musicians and dancers could perform, but such is their passion for their music and dancing that they continued in spite of the weather. The combined Timbila orchestras of Zavala and nyakutowo often perform together at one or other village or at an agreed dance floor halfway between the two, about 2 miles from each.
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Date Written / Recorded
1963
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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Chihibalumuna bembi (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR179 , 3 mins
"A man who wears a waistcoat without a jacket looks a perfect fool." The most trivial remarks are quite enough to suggest a good dance tune. The lower notes of this Chisanzhi were used with wax attached to the undersides of the tips of the reeds.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR179 , 3 mins
Description
"A man who wears a waistcoat without a jacket looks a perfect fool." The most trivial remarks are quite enough to suggest a good dance tune. The lower notes of this Chisanzhi were used with wax attached to the undersides of the tips of the reeds.
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.
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Ching’ombe Kulowa, 1st movement (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 , 3 mins
The dancers were composed of about 50 young men from the ages of 10 to 20 years. Three dancers pranced in front. A notable feature was the large buttefly bows tied onto the top of the heads of several of the dancers.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 , 3 mins
Description
The dancers were composed of about 50 young men from the ages of 10 to 20 years. Three dancers pranced in front. A notable feature was the large buttefly bows tied onto the top of the heads of several of the dancers.
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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Chinyau (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 , 3 mins
The mask of the male dancer consists of a headpiece covered with sheep's wool, crowned with guinea-fowl feathers and a rag costume of sacking. The male dancer may not approach near the women hence the distance away of the singing chorus. Four drummers provide the rhythm and the assembled women sing the chorus.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 , 3 mins
Description
The mask of the male dancer consists of a headpiece covered with sheep's wool, crowned with guinea-fowl feathers and a rag costume of sacking. The male dancer may not approach near the women hence the distance away of the singing chorus. Four drummers provide the rhythm and the assembled women sing the chorus.
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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Chiriri movement of Nyankowango, 1955 (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR001 , 3 mins
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 , 3 mins
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 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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Chitengi (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR180 , 3 mins
"Black cloth may not be worn by a woman who is about to have a child, she may use any other coloured cloth but not black." Such simple sentences revealing local etiquette are quite enough to inspire a local dance song. The Chokwe are more renowned for their beautiful chip carving than for their music -- much of it...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR180 , 3 mins
Description
"Black cloth may not be worn by a woman who is about to have a child, she may use any other coloured cloth but not black." Such simple sentences revealing local etiquette are quite enough to inspire a local dance song. The Chokwe are more renowned for their beautiful chip carving than for their music -- much of it sung in organum.
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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Chitsope movement (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR011 , 5 mins
The word 'Chitsope' means a wild energetic dance, or is used to denote such a dance. The words are spoken before the items. This dance is performed by the younger people on happy occasions, especially as an informal dance in the evenings. It is danced by both sexes, unlike the Ngodo which is a man's dance, and is...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR011 , 5 mins
Description
The word 'Chitsope' means a wild energetic dance, or is used to denote such a dance. The words are spoken before the items. This dance is performed by the younger people on happy occasions, especially as an informal dance in the evenings. It is danced by both sexes, unlike the Ngodo which is a man's dance, and is reserved specially for those too young to participate in the full Ngodo. A few musicians, usually from 3 to 5 only, play for the youngs...
The word 'Chitsope' means a wild energetic dance, or is used to denote such a dance. The words are spoken before the items. This dance is performed by the younger people on happy occasions, especially as an informal dance in the evenings. It is danced by both sexes, unlike the Ngodo which is a man's dance, and is reserved specially for those too young to participate in the full Ngodo. A few musicians, usually from 3 to 5 only, play for the youngsters who add two drums for this dance.
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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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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
×
See details
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.
×
