Browse Titles - 772 results
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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.
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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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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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Bedouin Music of Southern Sinai
produced by Amnon Shiloah (Folkways Records, 1978), 47 mins
When this recording was made, the Bedouin of Southern Sinai were striving to maintain their semi-nomadic ways of life in a changing world. This selection provides a valuable record of and insight into their repertory of archaic poetry, songs and dances, as well as more popular tunes.
Sample
produced by Amnon Shiloah (Folkways Records, 1978), 47 mins
Description
When this recording was made, the Bedouin of Southern Sinai were striving to maintain their semi-nomadic ways of life in a changing world. This selection provides a valuable record of and insight into their repertory of archaic poetry, songs and dances, as well as more popular tunes.
Field of Study
World Music
Content Type
Music recording
Contributor
Amnon Shiloah
Date Published / Released
1978
Publisher
Folkways Records
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Bena kasai ba kalenga balala nenyema pamwe (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR178 (1952) , 1 page(s)
The Chisanzhi Mbira is the traditional type of the district: The basket rattle is a well-made woven article with a handle; the rattles had wooden handles and an open work basket head with beer bottle tops inside. The bottle is a common percussion instrument among the Lulua and the singing gourd is the favorite ins...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR178 (1952) , 1 page(s)
Description
The Chisanzhi Mbira is the traditional type of the district: The basket rattle is a well-made woven article with a handle; the rattles had wooden handles and an open work basket head with beer bottle tops inside. The bottle is a common percussion instrument among the Lulua and the singing gourd is the favorite instrument of women's choirs in southern Congo into which they sing, lip or hum notes related to the fundamental note of the gourd. "Go! B...
The Chisanzhi Mbira is the traditional type of the district: The basket rattle is a well-made woven article with a handle; the rattles had wooden handles and an open work basket head with beer bottle tops inside. The bottle is a common percussion instrument among the Lulua and the singing gourd is the favorite instrument of women's choirs in southern Congo into which they sing, lip or hum notes related to the fundamental note of the gourd. "Go! Bemba and Lamba people of the Copper Belt." The musical formula for the songs which accompany the Maringa dance can be clearly distinguished in this recording. The dance itself was not witnessed at the time of recording. The Chisanzhi Mbira is the traditional type of the district: The basket rattle is a well-made woven article with a handle the rattles had wooden handles and an open work basket head with beer bottle tops inside. The bottle is a common percussion instrument among the Lulua and the singing gourd is the favorite instrument of women's choirs in southern Congo into which they sing, lip or hum notes related to the fundamental note of the gourd. Hand claps appear to be on the 2nd, 4th and 7th impulses of the 8-pulse rhythm. ||-, 2, -, 4, -, -, 7, -||
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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
Topic / Theme
Dance, Bottle, Rattle, Clapping, hand, Rattle, basket, Mbira, chizanshi
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Bena kasai ba kalenga balala nenyema pamwe (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR178 , 3 mins
The Chisanzhi Mbira is the traditional type of the district: The basket rattle is a well-made woven article with a handle
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR178 , 3 mins
Description
The Chisanzhi Mbira is the traditional type of the district: The basket rattle is a well-made woven article with a handle
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.
×
See details
Benu (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR186 , 3 mins
"What am I going to tell them? Where am I going to complain? I am singing like a church organ." Benu is the name of a jumping action in the dance. This instrument was particularly well played and well made of its kind. The one stringed lute appears to come from the upper Nile and has not been found south of Nyasal...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR186 , 3 mins
Description
"What am I going to tell them? Where am I going to complain? I am singing like a church organ." Benu is the name of a jumping action in the dance. This instrument was particularly well played and well made of its kind. The one stringed lute appears to come from the upper Nile and has not been found south of Nyasaland and the Zambesi valley.
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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Bia akponingbo (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)
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 (1952) , 1 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 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.
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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.
×
See details
Bia akponingbo (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR123 , 3 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 exper...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR123 , 3 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 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 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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Bia 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)
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 (1952) , 2 page(s)
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 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
Bia 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.
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.
Tracks
×
