Browse Titles - 984 results
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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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(Lyrichord, 1992), 48 mins
Field of Study
World Music
Content Type
Music recording
Date Published / Released
1992
Publisher
Lyrichord
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Walkin' in the Parlor
produced by Eric H. Davidson, 1937-2015 and Paul Newman; in Ballads and Songs of the Blue Ridge Mountains: Persistence and Change (Folkways Records, 1968), 1 min
Stemming from a want to preserve the dwindling unique oral traditions of the Blue Ridge Mountain back-country region, Eric Davidson, Paul Newman and Caleb Finch performed field recordings of songs that exemplified the evolution of ballads in the region, creating an anthology of music that characterized the musica...
Sample
produced by Eric H. Davidson, 1937-2015 and Paul Newman; in Ballads and Songs of the Blue Ridge Mountains: Persistence and Change (Folkways Records, 1968), 1 min
Description
Stemming from a want to preserve the dwindling unique oral traditions of the Blue Ridge Mountain back-country region, Eric Davidson, Paul Newman and Caleb Finch performed field recordings of songs that exemplified the evolution of ballads in the region, creating an anthology of music that characterized the musical mountain traditions. Originating from folk music of the British Isles, many of the songs are performed with little or no instrumental...
Stemming from a want to preserve the dwindling unique oral traditions of the Blue Ridge Mountain back-country region, Eric Davidson, Paul Newman and Caleb Finch performed field recordings of songs that exemplified the evolution of ballads in the region, creating an anthology of music that characterized the musical mountain traditions. Originating from folk music of the British Isles, many of the songs are performed with little or no instrumental accompaniment. These beautiful archaic folk melodies have retained their roots in the ballad and lament tradition, sung here by both men and women (traditionally ballads were sung only by women) with occasional lively banjo accompaniments.
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Field of Study
American Music
Content Type
Music recording
Contributor
Eric H. Davidson, 1937-2015, Paul Newman
Date Published / Released
1968
Publisher
Folkways Records
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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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Bamboo-Tamboo, Bongo and Belair
(Cook Records, 1956), 39 mins
Recorded in the hills of Trinidad, here is a fascinating juxtaposition of three music and music / dance practices of non-urban dwellers derived from African roots. Bamboo-Tamboo evolved out of the ban European colonizers imposed on drumming: dry, hollow bamboo poles were cut to varying lengths to produce differen...
Sample
(Cook Records, 1956), 39 mins
Description
Recorded in the hills of Trinidad, here is a fascinating juxtaposition of three music and music / dance practices of non-urban dwellers derived from African roots. Bamboo-Tamboo evolved out of the ban European colonizers imposed on drumming: dry, hollow bamboo poles were cut to varying lengths to produce different pitches when thumped against the ground. These bamboo instruments are used to accompany or speak about calinda (stick fighting). B...
Recorded in the hills of Trinidad, here is a fascinating juxtaposition of three music and music / dance practices of non-urban dwellers derived from African roots. Bamboo-Tamboo evolved out of the ban European colonizers imposed on drumming: dry, hollow bamboo poles were cut to varying lengths to produce different pitches when thumped against the ground. These bamboo instruments are used to accompany or speak about calinda (stick fighting). Belair (bélé) is a dance of older women accompanied by drums and shakers, often danced all night long; whereas bongo, also accompanied by drums as well as bamboo sticks, is danced exclusively by men at wakes in order to guide the spirit safely into the next world. All three musics share similar chanting styles and percussive styles.
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Field of Study
World Music
Content Type
Music recording
Date Published / Released
1956
Publisher
Cook Records
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