Browse Titles - 380 results
Colette (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR124 , 3 mins
"Ciolette begs you for money but gives you nothing in return." "I know I owe you money and I will give it to you but I do not have any now. I spoke to you one day and you would not reply—If you would agree to love me for only one day I would take it as a whole month. Colette. There is nothing wrong with Stanelyv...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR124 , 3 mins
Description
"Ciolette begs you for money but gives you nothing in return." "I know I owe you money and I will give it to you but I do not have any now. I spoke to you one day and you would not reply—If you would agree to love me for only one day I would take it as a whole month. Colette. There is nothing wrong with Stanelyville— We all know it is a perfect place.
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
×
Custodo a mabile (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 , 1 min
The pace of the dance quickens until the pelvic girations of the dancers become a rapid quivering. The horn singers can be heard attempting to sing the words of the highly repetitive music through the horns. Butm since their lips are immobilized by the mouthpiece, the words are not distinct.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 , 1 min
Description
The pace of the dance quickens until the pelvic girations of the dancers become a rapid quivering. The horn singers can be heard attempting to sing the words of the highly repetitive music through the horns. Butm since their lips are immobilized by the mouthpiece, the words are not distinct.
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
×
Dale wandizonda (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR187 , 2 mins
"My darling does not love me any more! Why is this? I put on white clothes but it does not help." The style of singing appears to be influenced by the local schools, and it is doubtful whether this item is wholely Tonga in form.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR187 , 2 mins
Description
"My darling does not love me any more! Why is this? I put on white clothes but it does not help." The style of singing appears to be influenced by the local schools, and it is doubtful whether this item is wholely Tonga in form.
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
×
Darabo wabandi mashef wetu Bakenga (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR040 , 3 mins
Chief Bakenga had been made a Paramount Chief, and the song alludes to this event.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR040 , 3 mins
Description
Chief Bakenga had been made a Paramount Chief, and the song alludes to this event.
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.
×
Dikitari Tiyakuyia (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR146 , 3 mins
The hospital is a good place and should not be burnt down. Why, I myself was once treated there.' A sentiment which could be echoed through many regions of Africa where rioters are nototious for burning down hospitals, clinics and schools.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR146 , 3 mins
Description
The hospital is a good place and should not be burnt down. Why, I myself was once treated there.' A sentiment which could be echoed through many regions of Africa where rioters are nototious for burning down hospitals, clinics and schools.
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.
×
Dikumbi (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR184 , 3 mins
The music of this region, which includes a part of northwestern Northern Rhodesia, southern Congo and Angola, is quite distinctive on account of the melodic structure and local sense of harmony. No Bantu other than the group of tribes which inhabit this small area care for Luchazi music, rejecting it utterly as in...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR184 , 3 mins
Description
The music of this region, which includes a part of northwestern Northern Rhodesia, southern Congo and Angola, is quite distinctive on account of the melodic structure and local sense of harmony. No Bantu other than the group of tribes which inhabit this small area care for Luchazi music, rejecting it utterly as incomprehensible. The tuning of the Chisanzhi was: -- 512, 424, 388, 348, 320, 276, 256 vs. The array of notes or reeds was set out four...
The music of this region, which includes a part of northwestern Northern Rhodesia, southern Congo and Angola, is quite distinctive on account of the melodic structure and local sense of harmony. No Bantu other than the group of tribes which inhabit this small area care for Luchazi music, rejecting it utterly as incomprehensible. The tuning of the Chisanzhi was: -- 512, 424, 388, 348, 320, 276, 256 vs. The array of notes or reeds was set out four on the side and the sequence of the scale was alternate from left to right. The two outside reeds being the same pitch 512 vs. This arrangement is convenient for playing the runs as heard in this recording, with alternating thumbs.
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Date Written / Recorded
1957
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
×
Dlalani (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR061 , 3 mins
The song is in praise of a man who has many lovers. This song and the following one were sung by a group of very beautifully dressed young people, the men dancers elegantly blanketed and beaded, the girls wearing pale ochre skirts with many rows of indigo blue braid and their headcloths of indigo blue wool were fo...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR061 , 3 mins
Description
The song is in praise of a man who has many lovers. This song and the following one were sung by a group of very beautifully dressed young people, the men dancers elegantly blanketed and beaded, the girls wearing pale ochre skirts with many rows of indigo blue braid and their headcloths of indigo blue wool were folded about heir heads to form a tall tubular headdress rather like that of Queen Nefertiti. Before the recording started, but whilst th...
The song is in praise of a man who has many lovers. This song and the following one were sung by a group of very beautifully dressed young people, the men dancers elegantly blanketed and beaded, the girls wearing pale ochre skirts with many rows of indigo blue braid and their headcloths of indigo blue wool were folded about heir heads to form a tall tubular headdress rather like that of Queen Nefertiti. Before the recording started, but whilst the singers were "warming up", there was rather a curious little ceremony which forms part of the dance. One of the girls went round removing the men dancers' headcloths, revealing their head bead ornaments. She put their headcloths on her own head, then returned to the line of girls and gave each girl her own young man's headcloth, which was then tied around the girl's head. A stick specially decorated for dancing is called "Libunguza".
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Date Written / Recorded
1957
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
×
Doka, wandimara chiperi (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR091 , 2 mins
The drums were brought in order. The small time keeper first. All were played with sticks except Tewe, the largest.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR091 , 2 mins
Description
The drums were brought in order. The small time keeper first. All were played with sticks except Tewe, the largest.
Date Written / Recorded
1958
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.
×
Donga kuchikongwelo (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR184 , 3 mins
The music of this region, which includes a part of northwestern Northern Rhodesia, southern Congo and Angola, is quite distinctive on account of the melodic structure and local sense of harmony. No Bantu other than the group of tribes which inhabit this small area care for Luchazi music, rejecting it utterly as in...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR184 , 3 mins
Description
The music of this region, which includes a part of northwestern Northern Rhodesia, southern Congo and Angola, is quite distinctive on account of the melodic structure and local sense of harmony. No Bantu other than the group of tribes which inhabit this small area care for Luchazi music, rejecting it utterly as incomprehensible. The tuning of the Chisanzhi was: -- 512, 424, 388, 348, 320, 276, 256 vs. The array of notes or reeds was set out four...
The music of this region, which includes a part of northwestern Northern Rhodesia, southern Congo and Angola, is quite distinctive on account of the melodic structure and local sense of harmony. No Bantu other than the group of tribes which inhabit this small area care for Luchazi music, rejecting it utterly as incomprehensible. The tuning of the Chisanzhi was: -- 512, 424, 388, 348, 320, 276, 256 vs. The array of notes or reeds was set out four on the side and the sequence of the scale was alternate from left to right. The two outside reeds being the same pitch 512 vs. This arrangement is convenient for playing the runs as heard in this recording, with alternating thumbs.
Show more
Show less
Date Written / Recorded
1957
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.
×
Ebi (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR118 , 5 mins
Mayogo names: -- Pod Drumbs - Nengangbu. c. 36" long (-12.181-)
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR118 , 5 mins
Description
Mayogo names: -- Pod Drumbs - Nengangbu. c. 36" long (-12.181-)
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
×