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Zore III (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 (1963) , 1 page(s)
3 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horThe 2 Kisisu drums were played by one man who beat an irregu...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 (1963) , 1 page(s)
Description
3 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horThe 2 Kisisu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The...
3 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horThe 2 Kisisu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The main dance of the GiTonga appears to be a kind of violent dance du ventre in which the hips and belly are rolled and shaken—the women and men coming out in pairs to dance in the centre of the ring. In both Zore II and III the order of appearance of the instruments is:— First Kirisu drums, then the 2 Chohodwani drums, then the Shikulu and then the corrugated iron Tsakara. The GiTonga dances are among the most deafening in Africa. The volume of sound within the circle of spectators, drummers and dancers must approach, if not exceed, the threshold of pain in the ears.
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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, Clapper
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Zore III (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 (27 April 1963) , 1 page(s)
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 (27 April 1963) , 1 page(s)
Date Written / Recorded
27 April 1963, 1963
Field of Study
Anthropology
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Folk music, Dance, Drum, barrel, Tsonga
Copyright Message
Material sourced from the International Library of African Music. Copyright © International Library of African Music.
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Zore III (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 , 1 min
3 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horThe 2 Kisisu drums were played by one man who beat an irregu...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 , 1 min
Description
3 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horThe 2 Kisisu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The...
3 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground beaters pegged, open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horThe 2 Kisisu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The main dance of the GiTonga appears to be a kind of violent dance du ventre in which the hips and belly are rolled and shaken—the women and men coming out in pairs to dance in the centre of the ring. In both Zore II and III the order of appearance of the instruments is:— First Kirisu drums, then the 2 Chohodwani drums, then the Shikulu and then the corrugated iron Tsakara. The GiTonga dances are among the most deafening in Africa. The volume of sound within the circle of spectators, drummers and dancers must approach, if not exceed, the threshold of pain in the ears.
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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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Zumani mwaya (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR163 (13 October 1950) , 1 page(s)
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR163 (13 October 1950) , 1 page(s)
Date Written / Recorded
13 October 1950, 1950
Field of Study
Anthropology
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Person Discussed
Chandaruwa Waya
Topic / Theme
Folk music, Folk, Whistle, Horn, gourd, Kayamba, Kigiryama
Copyright Message
Material sourced from the International Library of African Music. Copyright © International Library of African Music.
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Zuwa na mwezi (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR185 (29 August 1949) , 2 page(s)
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR185 (29 August 1949) , 2 page(s)
Date Written / Recorded
29 August 1949, 1949
Field of Study
Anthropology
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Nsenga
Copyright Message
Material sourced from the International Library of African Music. Copyright © International Library of African Music.
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Zuwa na mwezi (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR185 (1949) , 2 page(s)
The sun and the moon are contrasted as lovers. The son returns to his mother and the mother sees in the hooting of the owls the omen of death to come. The player Yelele Lungu is one of two blind musicians in the Petauke District. He has developed an unusual degree of poetic imagery. He has never seen either the su...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR185 (1949) , 2 page(s)
Description
The sun and the moon are contrasted as lovers. The son returns to his mother and the mother sees in the hooting of the owls the omen of death to come. The player Yelele Lungu is one of two blind musicians in the Petauke District. He has developed an unusual degree of poetic imagery. He has never seen either the sun or the moon and his poetry consequently reflected a blind man's conception of natural phenomena. Unfortunately owing to technical dif...
The sun and the moon are contrasted as lovers. The son returns to his mother and the mother sees in the hooting of the owls the omen of death to come. The player Yelele Lungu is one of two blind musicians in the Petauke District. He has developed an unusual degree of poetic imagery. He has never seen either the sun or the moon and his poetry consequently reflected a blind man's conception of natural phenomena. Unfortunately owing to technical difficulties, both his recordings on this disc are poor, but his poetry warranted their inclusion.
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Date Written / Recorded
1949
Field of Study
World Music
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Song, Mbira, Kalimba
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
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Zuwa na mwezi (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR185 , 3 mins
The sun and the moon are contrasted as lovers. The son returns to his mother and the mother sees in the hooting of the owls the omen of death to come. The player Yelele Lungu is one of two blind musicians in the Petauke District. He has developed an unusual degree of poetic imagery. He has never seen either the su...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR185 , 3 mins
Description
The sun and the moon are contrasted as lovers. The son returns to his mother and the mother sees in the hooting of the owls the omen of death to come. The player Yelele Lungu is one of two blind musicians in the Petauke District. He has developed an unusual degree of poetic imagery. He has never seen either the sun or the moon and his poetry consequently reflected a blind man's conception of natural phenomena. Unfortunately owing to technical dif...
The sun and the moon are contrasted as lovers. The son returns to his mother and the mother sees in the hooting of the owls the omen of death to come. The player Yelele Lungu is one of two blind musicians in the Petauke District. He has developed an unusual degree of poetic imagery. He has never seen either the sun or the moon and his poetry consequently reflected a blind man's conception of natural phenomena. Unfortunately owing to technical difficulties, both his recordings on this disc are poor, but his poetry warranted their inclusion.
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Show less
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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Zuwa ravira, mukaiwe (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR173 (13 October 1949) , 2 page(s)
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR173 (13 October 1949) , 2 page(s)
Date Written / Recorded
13 October 1949, 1949
Field of Study
Anthropology
Content Type
Field notes
Contributor
Hugh Tracey, 1903-1977
Author / Creator
Hugh Tracey, 1903-1977
Topic / Theme
Folk music, Folk, Karanga
Copyright Message
Material sourced from the International Library of African Music. Copyright © International Library of African Music.
×
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of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR173 , 2 mins
Field of Study
Anthropology
Content Type
Music recording
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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Zuwa woye (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR174 (1951) , 1 page(s)
Long ago, there was a Widow wIth one small daughter. Every day the mother used to go out collecting wild vegetables.
One day when she came back home she found that several of her corn cobs hanging up in the hut were bare of corn and she asked the child how this had happened. She said 'Mother
while you were away a...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR174 (1951) , 1 page(s)
Description
Long ago, there was a Widow wIth one small daughter. Every day the mother used to go out collecting wild vegetables.
One day when she came back home she found that several of her corn cobs hanging up in the hut were bare of corn and she asked the child how this had happened. She said 'Mother
while you were away a little anImal came here, danced and sang and as it danced the mealies fell off their cob onto the ground and he ate them all up! The an...
Long ago, there was a Widow wIth one small daughter. Every day the mother used to go out collecting wild vegetables.
One day when she came back home she found that several of her corn cobs hanging up in the hut were bare of corn and she asked the child how this had happened. She said 'Mother
while you were away a little anImal came here, danced and sang and as it danced the mealies fell off their cob onto the ground and he ate them all up! The animal asked her where her father was. She said 'My father is dead' 'And where is your mother?' "She is out collecting green food" "What
kind?" "Watercress and spinach". So the mother said "Tomorrow I will stay at home and see this little animal." The animal came again and did the very same thing and she was astonished at what she saw.
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Date Written / Recorded
1951
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.
×
