Browse Titles - 752 results
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Yango na mobangi (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR118 (1952) , 1 page(s)
Contemplation of death, its inevitability, and its constant appearance, is an important subject in many African folk songs. The apparent joie de vivre displayed at the feast and the dance after a funeral is strange to foreign ideas but typical of Africa.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR118 (1952) , 1 page(s)
Description
Contemplation of death, its inevitability, and its constant appearance, is an important subject in many African folk songs. The apparent joie de vivre displayed at the feast and the dance after a funeral is strange to foreign ideas but typical of Africa.
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.
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Yango na mobangi (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR118 , 3 mins
I am old and no one cares for me any longer.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR118 , 3 mins
Description
I am old and no one cares for me any longer.
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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Yelina (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR098 , 3 mins
Yelina, Yelina, Yelina-e! Yelina timphinjili tanji ta m'matako tosacoka, Mwadula mwana akwegwano mwahizaye. -- (as written) "Yelina, what are those charms around your waist? You have risked the life of your baby and may lose him." A young woman has been seen weaving a string of wooden beads as a charm around her w...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR098 , 3 mins
Description
Yelina, Yelina, Yelina-e! Yelina timphinjili tanji ta m'matako tosacoka, Mwadula mwana akwegwano mwahizaye. -- (as written) "Yelina, what are those charms around your waist? You have risked the life of your baby and may lose him." A young woman has been seen weaving a string of wooden beads as a charm around her waist. So the other women sing: "What has she been doing to need such a charm?" The local belief is that if either the husband or wife c...
Yelina, Yelina, Yelina-e! Yelina timphinjili tanji ta m'matako tosacoka, Mwadula mwana akwegwano mwahizaye. -- (as written) "Yelina, what are those charms around your waist? You have risked the life of your baby and may lose him." A young woman has been seen weaving a string of wooden beads as a charm around her waist. So the other women sing: "What has she been doing to need such a charm?" The local belief is that if either the husband or wife commits adultery while the child is being born or during the time the woman is pregnant -- there will be a risk of the child being stillborn. The charm worn in this case was taken as a sign that the mother-to-be had misbehaved herself and was trying to guard against the consequences by wearing a string of wooden beads around her waist.
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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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Yohane ulembe kalata (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR189 (1950) , 1 page(s)
Note how the song becomes faster and the pitch rises. It is an old traditional song of the Nyasa Ngoni and appears to stem from the Zulu side of their culture.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR189 (1950) , 1 page(s)
Description
Note how the song becomes faster and the pitch rises. It is an old traditional song of the Nyasa Ngoni and appears to stem from the Zulu side of their culture.
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, Clapping, hand
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
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Yohane ulembe kalata (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR189 , 3 mins
Note how the song becomes faster and the pitch rises. It is an old traditional song of the Nyasa Ngoni and appears to stem from the Zulu side of their culture.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR189 , 3 mins
Description
Note how the song becomes faster and the pitch rises. It is an old traditional song of the Nyasa Ngoni and appears to stem from the Zulu side of their culture.
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
Zapoke muchere uno (Field Card)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR189 (1952) , 1 page(s)
A typical song from the Lundazi District which makes use of the local variety of yodeling and chorus. The recording was made in a hall which gives a false acoustic to the song which as a folk song should be heard in the open air.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR189 (1952) , 1 page(s)
Description
A typical song from the Lundazi District which makes use of the local variety of yodeling and chorus. The recording was made in a hall which gives a false acoustic to the song which as a folk song should be heard in the open air.
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
Song, Dance, Vocals, group
Copyright Message
Material sourced from the International Library of African Music. Copyright International Library of African Music.
×
See details
Zapoke muchere uno (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR189 , 2 mins
A typical song from the Lundazi District which makes use of the local variety of yodeling and chorus. The recording was made in a hall which gives a false acoustic to the song which as a folk song should be heard in the open air.
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR189 , 2 mins
Description
A typical song from the Lundazi District which makes use of the local variety of yodeling and chorus. The recording was made in a hall which gives a false acoustic to the song which as a folk song should be heard in the open air.
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
Zore I (Track)
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 , 1 min
2 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 horn. The 2 Kisisu drums were played by one man who beat an irr...
Sample
of International Library of African Music (ILAM), in Hugh Tracey Fieldwork Collection and the Sound of Africa Series, TR196 , 1 min
Description
2 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 horn. The 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....
2 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 horn. The 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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Zore II (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)
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) , 2 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.
×
See details
Zore II (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.
Show more
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
×
