Browse Titles - 752 results
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Bandametu womgeniso movement of Ngodo of Regulo Nyankowango 1955 (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR001 , 2 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 , 2 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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Bandiya yo (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)
"Sungi kumba wa sa gasi li Sungi Akumba ai gibolo." "It is a bad housewife who does not work for a husband. A woman who can't work is no good at all."
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
"Sungi kumba wa sa gasi li Sungi Akumba ai gibolo." "It is a bad housewife who does not work for a husband. A woman who can't work is no good at all."
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
Mpondo
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Bandiya yo (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR123 , 3 mins
"We live here, in the district of Bandiya." These loose note xylophones are played by three and sometimes four men sitting on either side of the instrument. The Zande dance is performed in a circle to the cheerful sound of the xylophone. All the dancers move in unison with small steps in a set pattern which ensure...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR123 , 3 mins
Description
"We live here, in the district of Bandiya." These loose note xylophones are played by three and sometimes four men sitting on either side of the instrument. The Zande dance is performed in a circle to the cheerful sound of the xylophone. All the dancers move in unison with small steps in a set pattern which ensures that the circle moves around gradually in an anti-clockwise direction. A characteristic gesture by Zande dancers is the holding out o...
"We live here, in the district of Bandiya." These loose note xylophones are played by three and sometimes four men sitting on either side of the instrument. The Zande dance is performed in a circle to the cheerful sound of the xylophone. All the dancers move in unison with small steps in a set pattern which ensures that the circle moves around gradually in an anti-clockwise direction. A characteristic gesture by Zande dancers is the holding out of the hands, palms upwards gently raising and lowering the forearms in time with the music.
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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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Barberton Special (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR072 (1958) , 2 page(s)
This "gnome-like" music, so easily played and accompanied has swept into popularity since 1956. It has an immediate effect upon young Africans, especially those under twenty and perhaps even more so upon the under ten year olds. Mlembe is a native Swati name for this Havelock asbestos mine. Every tune on the whist...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR072 (1958) , 2 page(s)
Description
This "gnome-like" music, so easily played and accompanied has swept into popularity since 1956. It has an immediate effect upon young Africans, especially those under twenty and perhaps even more so upon the under ten year olds. Mlembe is a native Swati name for this Havelock asbestos mine. Every tune on the whistle-flutes or penny whistles enjoys the name of "Special" a trick learnt from gramophone record titles. They all imitate other tunes in...
This "gnome-like" music, so easily played and accompanied has swept into popularity since 1956. It has an immediate effect upon young Africans, especially those under twenty and perhaps even more so upon the under ten year olds. Mlembe is a native Swati name for this Havelock asbestos mine. Every tune on the whistle-flutes or penny whistles enjoys the name of "Special" a trick learnt from gramophone record titles. They all imitate other tunes in an urban/folk manner until there is no telling which tune came first, which the original, and which the imitation.
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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, Pennywhistle, Guitar, Flute, whistle
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Barberton Special (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR072 , 3 mins
This "gnome-like" music, so easily played and accompanied has swept into popularity since 1956. It has an immediate effect upon young Africans, especially those under twenty and perhaps even more so upon the under ten year olds. Mlembe is a native Swati name for this Havelock asbestos mine. Every tune on the whist...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR072 , 3 mins
Description
This "gnome-like" music, so easily played and accompanied has swept into popularity since 1956. It has an immediate effect upon young Africans, especially those under twenty and perhaps even more so upon the under ten year olds. Mlembe is a native Swati name for this Havelock asbestos mine. Every tune on the whistle-flutes or penny whistles enjoys the name of "Special" a trick learnt from gramophone record titles. They all imitate other tunes in...
This "gnome-like" music, so easily played and accompanied has swept into popularity since 1956. It has an immediate effect upon young Africans, especially those under twenty and perhaps even more so upon the under ten year olds. Mlembe is a native Swati name for this Havelock asbestos mine. Every tune on the whistle-flutes or penny whistles enjoys the name of "Special" a trick learnt from gramophone record titles. They all imitate other tunes in an urban/folk manner until there is no telling which tune came first, which the original, and which the imitation.
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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.
Tracks
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of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR146 , 1 min
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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Bayathetha abantwana ndinendaba (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR063 (1957) , 2 page(s)
The girl playing this mouth bow whistles out of the side of her mouth as well as resonating the notes in the usual manner. She used the open string and a stopped note, stopping it with her thumbnail and first finger. The use of this indigenous instrument and its style of music explains the ease with which Gcaleka...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR063 (1957) , 2 page(s)
Description
The girl playing this mouth bow whistles out of the side of her mouth as well as resonating the notes in the usual manner. She used the open string and a stopped note, stopping it with her thumbnail and first finger. The use of this indigenous instrument and its style of music explains the ease with which Gcaleka people take to the small concertina. The harmonies produced in the mouth being on the true harmonic series makes the transition to the...
The girl playing this mouth bow whistles out of the side of her mouth as well as resonating the notes in the usual manner. She used the open string and a stopped note, stopping it with her thumbnail and first finger. The use of this indigenous instrument and its style of music explains the ease with which Gcaleka people take to the small concertina. The harmonies produced in the mouth being on the true harmonic series makes the transition to the concertina a simple matter for simple tunes. Notes of the bow, 292 and 260 vs.
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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
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Bayathetha abantwana ndinendaba (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR063 , 2 mins
The girl playing this mouth bow whistles out of the side of her mouth as well as resonating the notes in the usual manner. She used the open string and a stopped note, stopping it with her thumbnail and first finger. The use of this indigenous instrument and its style of music explains the ease with which Gcaleka...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR063 , 2 mins
Description
The girl playing this mouth bow whistles out of the side of her mouth as well as resonating the notes in the usual manner. She used the open string and a stopped note, stopping it with her thumbnail and first finger. The use of this indigenous instrument and its style of music explains the ease with which Gcaleka people take to the small concertina. The harmonies produced in the mouth being on the true harmonic series makes the transition to the...
The girl playing this mouth bow whistles out of the side of her mouth as well as resonating the notes in the usual manner. She used the open string and a stopped note, stopping it with her thumbnail and first finger. The use of this indigenous instrument and its style of music explains the ease with which Gcaleka people take to the small concertina. The harmonies produced in the mouth being on the true harmonic series makes the transition to the concertina a simple matter for simple tunes. Notes of the bow, 292 and 260 vs.
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Date Written / Recorded
1957
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
Bazungu banashindana Malindi (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR163 (1950) , 1 page(s)
The Gonda was danced by a small group of dark skinned boys and girls who were dressed in the equivalent of the ballet dancers 'Tutu', a short multiple skirt made of banana stalk fibres which exaggerated every movement of the hips. It was one of the most pleasing and attractive dance displays by child dancers in th...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR163 (1950) , 1 page(s)
Description
The Gonda was danced by a small group of dark skinned boys and girls who were dressed in the equivalent of the ballet dancers 'Tutu', a short multiple skirt made of banana stalk fibres which exaggerated every movement of the hips. It was one of the most pleasing and attractive dance displays by child dancers in the whole of East Africa, all of whom were expert performers. The excessive noise of the drums and the somewhat shrill voices of the sing...
The Gonda was danced by a small group of dark skinned boys and girls who were dressed in the equivalent of the ballet dancers 'Tutu', a short multiple skirt made of banana stalk fibres which exaggerated every movement of the hips. It was one of the most pleasing and attractive dance displays by child dancers in the whole of East Africa, all of whom were expert performers. The excessive noise of the drums and the somewhat shrill voices of the singers do not do justice to the expert dancing which went with them.
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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
Topic / Theme
Song, Dance, Drum, Mabumbumbu, Mushondo, Kaamuri
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Bazungu banashindana Malindi (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR163 , 2 mins
The Gonda was danced by a small group of dark skinned boys and girls who were dressed in the equivalent of the ballet dancers 'Tutu', a short multiple skirt made of banana stalk fibres which exaggerated every movement of the hips. It was one of the most pleasing and attractive dance displays by child dancers in th...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR163 , 2 mins
Description
The Gonda was danced by a small group of dark skinned boys and girls who were dressed in the equivalent of the ballet dancers 'Tutu', a short multiple skirt made of banana stalk fibres which exaggerated every movement of the hips. It was one of the most pleasing and attractive dance displays by child dancers in the whole of East Africa, all of whom were expert performers. The excessive noise of the drums and the somewhat shrill voices of the sing...
The Gonda was danced by a small group of dark skinned boys and girls who were dressed in the equivalent of the ballet dancers 'Tutu', a short multiple skirt made of banana stalk fibres which exaggerated every movement of the hips. It was one of the most pleasing and attractive dance displays by child dancers in the whole of East Africa, all of whom were expert performers. The excessive noise of the drums and the somewhat shrill voices of the singers do not do justice to the expert dancing which went with them.
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Show less
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.
×
