Browse Titles - 1983 results
See details
Akakalu Babini (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR126 (1952) , 1 page(s)
The large Igogo deja was carved out of a single log and shaped like an antelope. It was 43" tall, the body 52" long, the tail 28 1/2" and the head 33". It was 42 1/2" wide, a total of 9 foot 5 1/2" long from tip to tail. The four legs were 10" tall carrying the triangular sectioned body, sounding two notes -- 56...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR126 (1952) , 1 page(s)
Description
The large Igogo deja was carved out of a single log and shaped like an antelope. It was 43" tall, the body 52" long, the tail 28 1/2" and the head 33". It was 42 1/2" wide, a total of 9 foot 5 1/2" long from tip to tail. The four legs were 10" tall carrying the triangular sectioned body, sounding two notes -- 56 and 48 vs. one from either flank. The wooden drums are in reality wooden gongs from which two or more tones can be produced according...
The large Igogo deja was carved out of a single log and shaped like an antelope. It was 43" tall, the body 52" long, the tail 28 1/2" and the head 33". It was 42 1/2" wide, a total of 9 foot 5 1/2" long from tip to tail. The four legs were 10" tall carrying the triangular sectioned body, sounding two notes -- 56 and 48 vs. one from either flank. The wooden drums are in reality wooden gongs from which two or more tones can be produced according to the position of the blow. The two sides of the slit usually record two distinct tones when hit near the mouth of the slit. Blows in this position appear to be those usually employed when sending messages or signals. For dancing, lighter tones can be produced by striking the upper ends of the drum, and deeper notes by hitting low down on the body of the drum nearer the waist. This recording is a part only of the dance already in progress.
Show more
Show less
Date Written / Recorded
1952
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
Akakalu Babini (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR126 , 5 mins
The large Igogo deja was carved out of a single log and shaped like an antelope. It was 43" tall, the body 52" long, the tail 28 1/2" and the head 33". It was 42 1/2" wide, a total of 9 foot 5 1/2" long from tip to tail. The four legs were 10" tall carrying the triangular sectioned body, sounding two notes -- 56...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR126 , 5 mins
Description
The large Igogo deja was carved out of a single log and shaped like an antelope. It was 43" tall, the body 52" long, the tail 28 1/2" and the head 33". It was 42 1/2" wide, a total of 9 foot 5 1/2" long from tip to tail. The four legs were 10" tall carrying the triangular sectioned body, sounding two notes -- 56 and 48 vs. one from either flank. The wooden drums are in reality wooden gongs from which two or more tones can be produced according...
The large Igogo deja was carved out of a single log and shaped like an antelope. It was 43" tall, the body 52" long, the tail 28 1/2" and the head 33". It was 42 1/2" wide, a total of 9 foot 5 1/2" long from tip to tail. The four legs were 10" tall carrying the triangular sectioned body, sounding two notes -- 56 and 48 vs. one from either flank. The wooden drums are in reality wooden gongs from which two or more tones can be produced according to the position of the blow. The two sides of the slit usually record two distinct tones when hit near the mouth of the slit. Blows in this position appear to be those usually employed when sending messages or signals. For dancing, lighter tones can be produced by striking the upper ends of the drum, and deeper notes by hitting low down on the body of the drum nearer the waist. This recording is a part only of the dance already in progress.
Show more
Show less
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.
Tracks
×
See details
Akamkungulu kagaya (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR149 , 3 mins
Why are you angry with me, You are not my father, You are not my brother, Leave me alone.' The drums only appear towards the end of the item.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR149 , 3 mins
Description
Why are you angry with me, You are not my father, You are not my brother, Leave me alone.' The drums only appear towards the end of the item.
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
Aku dewile nu wakate pwana dewile (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR123 (1952) , 1 page(s)
Mongonika sang the solo phrases to this dance which is called by the same name as himself. He is a clerk at the Chief's office and dressed himself in the traditional barkcloth 'breeches' and beads for the dances. The breeches are made from a five to six foot length of barkcloth about 4 foot wide which is drawn up...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR123 (1952) , 1 page(s)
Description
Mongonika sang the solo phrases to this dance which is called by the same name as himself. He is a clerk at the Chief's office and dressed himself in the traditional barkcloth 'breeches' and beads for the dances. The breeches are made from a five to six foot length of barkcloth about 4 foot wide which is drawn up loosely between the legs and spread out fore and aft and secured by a belt. The result is a rather voluminous dress typical of many tri...
Mongonika sang the solo phrases to this dance which is called by the same name as himself. He is a clerk at the Chief's office and dressed himself in the traditional barkcloth 'breeches' and beads for the dances. The breeches are made from a five to six foot length of barkcloth about 4 foot wide which is drawn up loosely between the legs and spread out fore and aft and secured by a belt. The result is a rather voluminous dress typical of many tribes in N. Eastern Congo. Tuning of Kponingbo:-- 664, 568, 496, 392, 360, 332, 284, 248, 196.
Show more
Show less
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.
×
See details
Aku dewile nu wakate pwana dewile (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR123 , 2 mins
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 expe...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR123 , 2 mins
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 ea...
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.
Show more
Show less
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.
×
See details
Alaina n’kuphika nkhwani (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR097 (1958) , 2 page(s)
This kind of dance, they say, was first introduced into the district by Yao people, about 15 years ago, 1940, when it was originally sung in the Yao language, from the Fort Johnstone District. But the Chewa girls liked the dance and made up their own words for it. They reflect the young girls growing sense of resp...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR097 (1958) , 2 page(s)
Description
This kind of dance, they say, was first introduced into the district by Yao people, about 15 years ago, 1940, when it was originally sung in the Yao language, from the Fort Johnstone District. But the Chewa girls liked the dance and made up their own words for it. They reflect the young girls growing sense of responsibility toward her domestic duties. "Alaina nkuphika nkhwani nanga ine ndidyele ciani alaina Mai wanga nkuphika nkhwani nanga ine nd...
This kind of dance, they say, was first introduced into the district by Yao people, about 15 years ago, 1940, when it was originally sung in the Yao language, from the Fort Johnstone District. But the Chewa girls liked the dance and made up their own words for it. They reflect the young girls growing sense of responsibility toward her domestic duties. "Alaina nkuphika nkhwani nanga ine ndidyele ciani alaina Mai wanga nkuphika nkhwani nanga ine ndidyele ciani." "Alaina cooked vegetables, what shall I do for vegetables myself? My mother cooked vegetables, what shall I do for vegetables myself?"
Show more
Show less
Date Written / Recorded
1958
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, Clapping, hand
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Alaina n’kuphika nkhwani (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR097 , 2 mins
This kind of dance, they say, was first introduced into the district by Yao people, about 15 years ago, 1940, when it was originally sung in the Yao language, from the Fort Johnstone District. But the Chewa girls liked the dance and made up their own words for it. They reflect the young girls growing sense of resp...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR097 , 2 mins
Description
This kind of dance, they say, was first introduced into the district by Yao people, about 15 years ago, 1940, when it was originally sung in the Yao language, from the Fort Johnstone District. But the Chewa girls liked the dance and made up their own words for it. They reflect the young girls growing sense of responsibility toward her domestic duties. "Alaina nkuphika nkhwani nanga ine ndidyele ciani alaina Mai wanga nkuphika nkhwani nanga ine nd...
This kind of dance, they say, was first introduced into the district by Yao people, about 15 years ago, 1940, when it was originally sung in the Yao language, from the Fort Johnstone District. But the Chewa girls liked the dance and made up their own words for it. They reflect the young girls growing sense of responsibility toward her domestic duties. "Alaina nkuphika nkhwani nanga ine ndidyele ciani alaina Mai wanga nkuphika nkhwani nanga ine ndidyele ciani." "Alaina cooked vegetables, what shall I do for vegetables myself? My mother cooked vegetables, what shall I do for vegetables myself?"
Show more
Show less
Date Written / Recorded
1958
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
Alan Mills and Jean Carignan: Songs, Fiddle Tunes and a Folk-Tale from Canada
(Folkways Records, 1961), 47 mins
Sample
(Folkways Records, 1961), 47 mins
Field of Study
World Music
Content Type
Music recording
Date Published / Released
1961
Publisher
Folkways Records
×
See details
Albeniz/Tarrega/Granados/Torroba: Spanish Guitar Music
performed by Edoardo Catemario (Arts Productions Ltd., 2006), 56 mins
Sample
performed by Edoardo Catemario (Arts Productions Ltd., 2006), 56 mins
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Edoardo Catemario
Author / Creator
Edoardo Catemario
Date Published / Released
2006-07-04
Publisher
Arts Productions Ltd.
Copyright Message
2003 Arts Music GMBH
×
See details
Malambo Op.7
composed by Alberto Evaristo Ginastera, 1916-1983 (1940); performed by Martín Bucki; in Alberto Ginastera: Obra Integral Para Piano, Vol. 2 (Irco Video, 1994), 3 mins
Sample
composed by Alberto Evaristo Ginastera, 1916-1983 (1940); performed by Martín Bucki; in Alberto Ginastera: Obra Integral Para Piano, Vol. 2 (Irco Video, 1994), 3 mins
Date Written / Recorded
1940
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Martín Bucki
Author / Creator
Alberto Evaristo Ginastera, 1916-1983, Martín Bucki
Date Published / Released
1994-12-01
Publisher
Irco Video
×
