Browse Titles - 259 results
Ha setimela se tsameaea (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR064 (1957) , 2 page(s)
The player said he had made his Sitolotolo only that day, so it had not had time to dry out and resonate the sound properly. Consequently the overtones resonated in the mouth were relatively weak.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR064 (1957) , 2 page(s)
Description
The player said he had made his Sitolotolo only that day, so it had not had time to dry out and resonate the sound properly. Consequently the overtones resonated in the mouth were relatively weak.
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, Dance, Bow, Mouth
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Hanzi bomu bomu Kulowa, 1st movement (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 (1950) , 1 page(s)
The singers explained "The 'Hanzi bomu bomu' song is our latest composition which is being sung all over the country. Please make sure you learn how to sing it." "Hanzi bomu bomu" means 'Hands bombs' or 'hand grenades.' This refers to the 1939-45 war. Many of the singers were in the K.A.R. (Kings African Rifles) b...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 (1950) , 1 page(s)
Description
The singers explained "The 'Hanzi bomu bomu' song is our latest composition which is being sung all over the country. Please make sure you learn how to sing it." "Hanzi bomu bomu" means 'Hands bombs' or 'hand grenades.' This refers to the 1939-45 war. Many of the singers were in the K.A.R. (Kings African Rifles) but they had only a distant and hazy idea of the effect of explosives.
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, African Drumming, Gourd, struck, Malipenga, Drum
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Hanzi bomu bomu Kulowa, 1st movement (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 , 3 mins
The singers explained "The 'Hanzi bomu bomu' song is our latest composition which is being sung all over the country. Please make sure you learn how to sing it." "Hanzi bomu bomu" means 'Hands bombs' or 'hand grenades.' This refers to the 1939-45 war. Many of the singers were in the K.A.R. (Kings African Rifles) b...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR192 , 3 mins
Description
The singers explained "The 'Hanzi bomu bomu' song is our latest composition which is being sung all over the country. Please make sure you learn how to sing it." "Hanzi bomu bomu" means 'Hands bombs' or 'hand grenades.' This refers to the 1939-45 war. Many of the singers were in the K.A.R. (Kings African Rifles) but they had only a distant and hazy idea of the effect of explosives.
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.
×
Helele nani nzovela (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR157 , 1 min
"Even if you divorce me and leave me alone, I will still be able to look after myself." Two womens songs, injunctions to young women upon getting married. In Africa the woman must be increasingly independent of her fickle and self indulgent man.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR157 , 1 min
Description
"Even if you divorce me and leave me alone, I will still be able to look after myself." Two womens songs, injunctions to young women upon getting married. In Africa the woman must be increasingly independent of her fickle and self indulgent man.
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.
×
Hino Nacional (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 (1963) , 2 page(s)
Introduced by the 'Hino Nacional,' the Portuguese national anthem. Women came out in pairs and danced opposite each other, each doing a violent dance du ventre. As soon as they tired, their places would be taken by two others. The singing horns here are usually manufactured by a local tin smith from galvanised fla...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 (1963) , 2 page(s)
Description
Introduced by the 'Hino Nacional,' the Portuguese national anthem. Women came out in pairs and danced opposite each other, each doing a violent dance du ventre. As soon as they tired, their places would be taken by two others. The singing horns here are usually manufactured by a local tin smith from galvanised flat iron usually taken from old kerosine tins. One of the horns used was the horn of an old acoustic gramophone. The use of singing horns...
Introduced by the 'Hino Nacional,' the Portuguese national anthem. Women came out in pairs and danced opposite each other, each doing a violent dance du ventre. As soon as they tired, their places would be taken by two others. The singing horns here are usually manufactured by a local tin smith from galvanised flat iron usually taken from old kerosine tins. One of the horns used was the horn of an old acoustic gramophone. The use of singing horns made of metal in a speciality of the GiTonga. They are played with very noisy drums and struck iron, and the result is deafening rather than musical.
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Date Written / Recorded
1963
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, Drum, Rattle, Horn
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Hino Nacional (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 , 1 min
Introduced by the 'Hino Nacional,' the Portuguese national anthem. Women came out in pairs and danced opposite each other, each doing a violent dance du ventre. As soon as they tired, their places would be taken by two others. The singing horns here are usually manufactured by a local tin smith from galvanised fla...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 , 1 min
Description
Introduced by the 'Hino Nacional,' the Portuguese national anthem. Women came out in pairs and danced opposite each other, each doing a violent dance du ventre. As soon as they tired, their places would be taken by two others. The singing horns here are usually manufactured by a local tin smith from galvanised flat iron usually taken from old kerosine tins. One of the horns used was the horn of an old acoustic gramophone. The use of singing horns...
Introduced by the 'Hino Nacional,' the Portuguese national anthem. Women came out in pairs and danced opposite each other, each doing a violent dance du ventre. As soon as they tired, their places would be taken by two others. The singing horns here are usually manufactured by a local tin smith from galvanised flat iron usually taken from old kerosine tins. One of the horns used was the horn of an old acoustic gramophone. The use of singing horns made of metal in a speciality of the GiTonga. They are played with very noisy drums and struck iron, and the result is deafening rather than musical.
Show more
Show less
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
×
Hulula mtemi wiswe (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR150 (1950) , 1 page(s)
The name of the dance means 'Go as you please' and it appears gives the dancers the freedom to do steps and movements as they wish and not in strict tempo or unison with other dancers. The style of singing is typical of those away from home and differs materially from the same type of song sung at home.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR150 (1950) , 1 page(s)
Description
The name of the dance means 'Go as you please' and it appears gives the dancers the freedom to do steps and movements as they wish and not in strict tempo or unison with other dancers. The style of singing is typical of those away from home and differs materially from the same type of song sung at home.
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, Bell
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
Hulula mtemi wiswe (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR150 , 3 mins
The name of the dance means 'Go as you please' and it appears gives the dancers the freedom to do steps and movements as they wish and not in strict tempo or unison with other dancers. The style of singing is typical of those away from home and differs materially from the same type of song sung at home.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR150 , 3 mins
Description
The name of the dance means 'Go as you please' and it appears gives the dancers the freedom to do steps and movements as they wish and not in strict tempo or unison with other dancers. The style of singing is typical of those away from home and differs materially from the same type of song sung at home.
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.
×
Ici ncumba (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR185 , 3 mins
"Marie agave birth to her child on the lake steamer. Her midwives were sailors."
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR185 , 3 mins
Description
"Marie agave birth to her child on the lake steamer. Her midwives were sailors."
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
×
Igumira obuyatabara Ruanda (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR134 (1950) , 1 page(s)
Igumira was a local chief who used to go over into Ruanda and raid the tribes there, the Tutsi and the Hutu. The song is now used for dancing the Ekitagururo dance in which men and women do a simple rhythmic shuffle with rattles attached to their calves.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR134 (1950) , 1 page(s)
Description
Igumira was a local chief who used to go over into Ruanda and raid the tribes there, the Tutsi and the Hutu. The song is now used for dancing the Ekitagururo dance in which men and women do a simple rhythmic shuffle with rattles attached to their calves.
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, Song, Drum, Sticks, Rattle
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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