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Famba gathle Changani

- Mubombeni, Makahani, Shangaan girls, Tracey, Hugh

Gongondwani wandwike

- Elena Leve, Chopi women, Tracey, Hugh

Ha-a, twanana

- Makanana, Daine Mutombeni, Shangaan women, Tracey, Hugh

Hambo nto yini

- Koza, Mpepo, Shangaan girls, Tracey, Hugh

Hambokami kota mova

- Tabarirevu Muyambo, Tracey, Hugh

  • Authors: Tabarirevu Muyambo , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Folk songs, Ndau , Chopi (African people) , Ndau (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Mwanditura f-mz
  • Language: Ndau
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/194266 , vital:45438 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR205-11
  • Description: This song is generally known among the people of these regions of Southern Rhodesia and is sung when the men go off to Johannesburg to work. The tuning of the Mbira dze chiNdau is: 408, 388, 348, 300, 256, 224, 204 vs. "Out of the way, the motor car is coming! We go past Messina. On the way to Johannesburg. Mohamba's car worries me. Out of the way, you Shangaans." Many men from this Chipinga district go to Johannesburg to work taking Mohamba's lorry which connects with the mine buses to Messina and Johannesburg. Topical song with Mbira dze chiNdau with 3 manuals.
  • Full Text: false
  • Date Issued: 1963

He wena mani

- Muwane, Armando Saule, Tracey, Hugh

  • Authors: Muwane, Armando Saule , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Tonga language (Inhambane) , Folk dance music , Field recordings , Africa, Sub-Saharan , Africa Mozambique Maxixe f-mz
  • Language: Gitonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189697 , vital:44922 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-14
  • Description: Both instruments were played by the performer who also had two littlehome made marionettes dangling on the end of a string from the neck of his guitar which danced opposite each other with the shaking of the guitar, and made their miniature foot prints on the loose sand. He is addressing his remarks to the two little wooden figures and the music itself is of secondary importance. Topical song, with guitar and rattle.
  • Full Text: false
  • Date Issued: 1963

Hina shirilo, ka Matebula

- Koza, Mpipo, 9 Shangaan girls, Tracey, Hugh

Hino Nacional

- Men and women of Nhamaxaxa, Tracey, Hugh

  • Authors: Men and women of Nhamaxaxa , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Tonga language (Inhambane) , Folk dance music , Field recordings , Africa, Sub-Saharan , Africa Mozambique Regulo Nhabanda f-mz
  • Language: Gitonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189600 , vital:44911 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-04
  • 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 are 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 is a speciality of the GiTonga. They are played with very noisy drums and struck iron, and the result is deafening rather than musical. Party dance for men and women, with 1 brass drum Bombo, 1 small steel drum made from a bucket, 1 Chingomane flat iron, 4 Puundu singing horns, 1 rattle.
  • Full Text: false
  • Date Issued: 1963

Hiwawanaru emabazini - e

- Mutombeni, Daine, Shangaan girls, Tracey, Hugh

Ho, niihondile

- Miliya Bukulane, Rude Wache, Amelia Faduko, Tracey, Hugh

Hola, hola wambilo

- Makanana, Daine Mutombeni, Koza, Mpepo, Tracey, Hugh

Homolela ngeka

- Four Pedi women and a baby, Four Pedi women, Tracey, Hugh

Homolela ngwanaka

- Four Pedi women and a baby, Four Pedi women, Tracey, Hugh

Hondora

- Tabarirevu Muyambo, Tracey, Hugh

Iya-e

- Mapulana women, Tracey, Hugh

Joo tsaka

- Raimundu Andreu, Luis Manuel maCanda, Tracey, Hugh

  • Authors: Raimundu Andreu , Luis Manuel maCanda , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Canda f-mz
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/194202 , vital:45428 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR205-04
  • Description: The Chibvelani bow was strung with Ilala palm leaf and the player used all four fingers of the left hand to stop the string and not the more usual one or two, hence the more interesting meloduc possibilities. The bow is resonated in the open mouth, the palm leaf passing between, but not touching, the parted lips. The musical principal is the same as that of the Jews Harp, a vibrating medium suspended in front of the mouth cavity, the pitch of the notes being controlled by altering the shape of the mouth and throat. The performer is virtually singing silently. "I am happy because my wife has come back." Tune on Chitende stressed bow.
  • Full Text: false
  • Date Issued: 1963

Ke ke mmela ke ke

- Mashego, Barney (Chief), Four Pedi women, Tracey, Hugh

  • Authors: Mashego, Barney (Chief) , Four Pedi women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Pedi (African people) , Folk music--South Africa , Field recordings , Africa, Sub-Saharan , Africa South Africa Bushbuck Ridge f-sa
  • Language: Pedi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/188684 , vital:44776 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR195-03
  • Description: This district is plagued, they say, by men who come home from employment eleswhere, eat the food of their relatives until it is all finished without doing a stroke of work to help, and then disappear from pastures new, leaving their families starving. "The day we pounded earth, pounding it for the bearded. Those who come in putting their beards in the food." (i.e. doing no work to produce it, but eating it only). The meaning behind this song is that the lazy men desearve only pounded earth, not good grain to eat. Pounding song with mortar and three pestles
  • Full Text: false
  • Date Issued: 1963

Keng se

- Mashego, Barney (Chief), Pedi women and one old man, Tracey, Hugh

Khanya Kude

- Mwamitwa, Fanisa, Shangaan women, Tracey, Hugh

Lebelela moo. Part I and II

- Group of 8 Pedi women and 1 man, Four Pedi women, Tracey, Hugh

  • Authors: Group of 8 Pedi women and 1 man , Four Pedi women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Pedi (African people) , Folk music--South Africa , Field recordings , Africa, Sub-Saharan , Africa South Africa Bushbuck Ridge f-sa
  • Language: Pedi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189159 , vital:44822 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR195-08
  • Description: The drums are made in the district of Marula trees. "Look here, I am waiting for a parcel. It is the blood of my husband, my husband Tshimisdo. My husband Tshimisdo, it comes with the train." The parcel is sent by her husband who is working away from home. The parcel is the result of the 'sweet of his brow', his 'blood' as they say. Party dance for men and women with two drums, small drum Morupa o munyane, large drum Morupa o mugulo and a rattle
  • Full Text: false
  • Date Issued: 1963
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