Browse Titles - 855 results
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Awana wane wakuluganga (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR152 (1950) , 1 page(s)
The Puba dance is done in teams. The girls in two lines and the boys in two lines behind them. They move to and fro in file and leap into the air in time with the rhythm of the dance music.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR152 (1950) , 1 page(s)
Description
The Puba dance is done in teams. The girls in two lines and the boys in two lines behind them. They move to and fro in file and leap into the air in time with the rhythm of the dance 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
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Awe, iee, sankha wekha (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR079 (1958) , 2 page(s)
The meaning of neither song is clear. The singer claims that some of the words of the second song were in Tumbuka/Henga. The Kubu bow is a simple tall bow (56 inches) held vertically and strained near the lower end - the main segment of the string being 40 inches long. It has a gourd resonator. The player struck t...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR079 (1958) , 2 page(s)
Description
The meaning of neither song is clear. The singer claims that some of the words of the second song were in Tumbuka/Henga. The Kubu bow is a simple tall bow (56 inches) held vertically and strained near the lower end - the main segment of the string being 40 inches long. It has a gourd resonator. The player struck the long segment only, stopping it with the point of his first finger and with his thumb.
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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Awelemuwo ee dandaula (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR092 (1958) , 2 page(s)
The Pango (Bango or Bangwe) is the instrument most commonly found throughout Nyasaland. Here the local dilect changes the usual Bangwe to Pango and sometimes Pangwe. it was strummed with a swaying action of the fingers. "Chitkako Bitilishi, ndilibe kugona naio dzulo Chithako iha Bitileschi, mama nchilibe ngona nai...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR092 (1958) , 2 page(s)
Description
The Pango (Bango or Bangwe) is the instrument most commonly found throughout Nyasaland. Here the local dilect changes the usual Bangwe to Pango and sometimes Pangwe. it was strummed with a swaying action of the fingers. "Chitkako Bitilishi, ndilibe kugona naio dzulo Chithako iha Bitileschi, mama nchilibe ngona naio dzulo." (as written by the singer). "Oh! the thighs of Beatrice. I could not sleep well last night."
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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Awoli a legimenti (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR188 (1950) , 2 page(s)
"Soldiers wives, take care of your clothes. You may have to dispose of some of them to buy yourselves food." A poignant little song which reflects the experience of war wives (1939-1945). It has an attractive melody in the chorus
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR188 (1950) , 2 page(s)
Description
"Soldiers wives, take care of your clothes. You may have to dispose of some of them to buy yourselves food." A poignant little song which reflects the experience of war wives (1939-1945). It has an attractive melody in the chorus
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, Mortar and pestle
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Azungu musinjilo (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR189 (1950) , 1 page(s)
These two simple songs are typical of those of the older generation of musicians. The tuning of the Bango was:— 256, 236, 216, 198, 178, 156, 140 vs. Two simple songs in typical vein by a village singer.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR189 (1950) , 1 page(s)
Description
These two simple songs are typical of those of the older generation of musicians. The tuning of the Bango was:— 256, 236, 216, 198, 178, 156, 140 vs. Two simple songs in typical vein by a village singer.
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, Zither, Banjo
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
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A Yotamu amati andimange (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR191 (1950) , 2 page(s)
"Yotamu wanted the chief to imprison me." Note in the second song how the player sings, not in unison with his instrument, but in parallel with it. Tuning:— 792, 720, 592, 536, 476, 456, 396, 360, 296, 228. The player learnt his playing from a Nshenga at Fort Jameson called Jeremia Phiri in 1931. The apparent ov...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR191 (1950) , 2 page(s)
Description
"Yotamu wanted the chief to imprison me." Note in the second song how the player sings, not in unison with his instrument, but in parallel with it. Tuning:— 792, 720, 592, 536, 476, 456, 396, 360, 296, 228. The player learnt his playing from a Nshenga at Fort Jameson called Jeremia Phiri in 1931. The apparent over-modulation of the voice seems to be caused by the vibration of the mirliton buzzer.
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, Mbira, Kalimba
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Ba Serenje balokulila bawishibo = Serenje is weeping over his father (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR021 (1957) , 2 page(s)
When Serenje's father died, he mourned for a long time. 'Toranchi' has taught me how to shoot on the rifle range, so, now I have learnt to shoot, I may be going to the war, and do not know if I will ever come back.' This is a piece of fantasy, for in fact, Mr. Torrence has not taught him to shoot, but it is an obl...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR021 (1957) , 2 page(s)
Description
When Serenje's father died, he mourned for a long time. 'Toranchi' has taught me how to shoot on the rifle range, so, now I have learnt to shoot, I may be going to the war, and do not know if I will ever come back.' This is a piece of fantasy, for in fact, Mr. Torrence has not taught him to shoot, but it is an oblique form of flattery and praise. He is fond of Mr. Torrence who is assistant African Personnel Manager, and that is why he sings about...
When Serenje's father died, he mourned for a long time. 'Toranchi' has taught me how to shoot on the rifle range, so, now I have learnt to shoot, I may be going to the war, and do not know if I will ever come back.' This is a piece of fantasy, for in fact, Mr. Torrence has not taught him to shoot, but it is an oblique form of flattery and praise. He is fond of Mr. Torrence who is assistant African Personnel Manager, and that is why he sings about him in this way. The fact that Mr. Torrence was an officer in the King's African Rifles during the war may have contributed to the singer's hero worship of him.
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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
Song, Mbira, Mbira, kankowele
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
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Babelwa bodwa (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)
The two fundamental notes of this braced bow were 182 vs and 160 vs giving an interval of 224 cents. It was played with a stout grass stalk and stopped with the back of the first finger near the bracing, just below its point of contact creating a third note. The lower fundamental is sometimes stopped and sometimes...
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
The two fundamental notes of this braced bow were 182 vs and 160 vs giving an interval of 224 cents. It was played with a stout grass stalk and stopped with the back of the first finger near the bracing, just below its point of contact creating a third note. The lower fundamental is sometimes stopped and sometimes the upper, the bow being inverted for the purpose.
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.
×
See details
Baberita babakana babasangule apumbu = Baberita has been rejected and they have made a fool of her (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR019 (1957) , 1 page(s)
The singer calls his girl Machi Bwanga and the other women, including the mother of Changwe, to come and help him to sing.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR019 (1957) , 1 page(s)
Description
The singer calls his girl Machi Bwanga and the other women, including the mother of Changwe, to come and help him to sing.
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
Song, Mbira, Mbira, kankowele
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Baikili kwano kindonyimo (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR153 (1950) , 1 page(s)
"With my spear and my shield I will go out to raid cattle. Then I shall sell them to the butcher so that the folk will not go short of meat. This item might be described as a recitative or narrative rather than a songIt has a two note response at the end of each phrase. There is more behind the idea of selling c...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR153 (1950) , 1 page(s)
Description
"With my spear and my shield I will go out to raid cattle. Then I shall sell them to the butcher so that the folk will not go short of meat. This item might be described as a recitative or narrative rather than a songIt has a two note response at the end of each phrase. There is more behind the idea of selling catttle to the butcher than one would guess at first sight. The Masai are loathe to sell or trade any of their own cattle for slaughter...
"With my spear and my shield I will go out to raid cattle. Then I shall sell them to the butcher so that the folk will not go short of meat. This item might be described as a recitative or narrative rather than a songIt has a two note response at the end of each phrase. There is more behind the idea of selling catttle to the butcher than one would guess at first sight. The Masai are loathe to sell or trade any of their own cattle for slaughter but trading stolen cattle to satisfy the constant demands of trade is another matter. "With my spear and my shield I will go out to raid cattle. Then I shall sell them to the butcher so that the folk will not go short of meat. This item might be described as a recitative or narrative rather than a song—It has a two note response at the end of each phrase. There is more behind the idea of selling catttle to the butcher than one would guess at first sight. The Masai are loathe to sell or trade any of their own cattle for slaughter but trading stolen cattle to satisfy the constant demands of trade is another matter.
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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
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
