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Hiras oe gab dis u gab disxa

Ungcwele, ungcwele, ungcwele

Hino Nacional

  • 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

Opening song

Le kae le watle (Where is the sea)

Re tswa kwa Tlhabane (We come from Saulspoort)

Re tswa kwa Tlhabane (We come from Saulspoort)

Kumtondo mwana amalira

Amenya mwana (Mother of child)

  • Authors: Four Lomwe song , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Songs, Chewa , Lomwe (African people) , Chewa (African people) , Folk music , Africa Malawi Mlange f-mw
  • Language: Lomwe
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/160734 , vital:40508 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR098-19
  • Description: This song appears to be influenced by European teaching. The dirty must reflect the inevitable emotions of an ill-matched couple and the husband's rebellion. Sung no doubt only by men in the village. "Mother of child, get out of the house and take your child in case I should throw him out like a worthless thing. Party song.
  • Full Text: false
  • Date Issued: 1958

Kumtondo mwana amalira (At the pounding place the child was crying)

Munthu ukakala wekha (If you are alone)

Timange mphwanga pano (Let us settle here properly)

Malala

Hiho

Malala (The powerful back)

  • Authors: Masaria and other Tonga women , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Tonga (Zambezi people) , Folk songs, Tonga (Zambezi) , Music--Zambia , Africa Zambia Gwembe f-za
  • Language: Tonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/138143 , vital:37598 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR042-03
  • Description: This song were taken during the actual grinding of millet into meal outside a hut. The millet was a fine brown variety known as Munga in Rhodesia. This small work song is sometimes well known by everyone in the village and commonly used by the women as they grind their corn on the stone outside their hut, or they are individual compositions without a name and with few words to the lyrics. Grinding song accompanied by the sound of grindstone.
  • Full Text: false
  • Date Issued: 1957

Tshikanda at Lukau

Lebandima

  • Authors: Mangbele men , Composer not specified , Tracey, Hugh
  • Date: 1952-08-01
  • Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Gombari f-cg
  • Language: Efe
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/218897 , vital:48449 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT315-F94 , Research no. F4E6b
  • Description: Indigenous folk song called a 'Tipoyi carrier's song', with singing accompanied by 2 wooden pod-shaped slitdrums, two wooden cylindrincal slitdrums and rattles.
  • Full Text: false
  • Date Issued: 1952-08-01

Iyo-o-u-o

Amabele-o-iye

  • Authors: Mosis, Magdalena, and Terasa (Mambuti women) , Hugh Tracey
  • Date: 1952
  • Subjects: Songs, Swahili , Mbuti (African people) , Swahili-speaking peoples , Pygmies , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Mbau-Mbili f-cg
  • Language: Congo Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/168178 , vital:41548 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0125-04
  • Description: These songs were sung by three very small pygmy women all crouching on the ground close together. Their songs, it is said, asre composed mostly of vowel sounds or very simple words without much attempt to form a lyric. They were clothed only in a small strip of cloth each strung between the legs with each supported by a waist band of bark string. Each had a single string of beads around the neck and black markings were painted on their faces and necks. These songs, they said,could also be used as lullabies. At the end of the second and third items the bleat of a goat kid can be heard. Party song.
  • Full Text: false
  • Date Issued: 1952

Kanenga

  • Authors: Louis Mulowa , Hugh Tracey
  • Date: 1952
  • Subjects: Folk music--Africa , Luba (African people) , Ruund (African people) , Field recordings , Africa, Sub-Saharan , Africa Zambia Mwinilunga f-za
  • Language: Lunda , Luba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/182985 , vital:43900 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR179-14
  • Description: A player was sorry when his friend finished his food so he sat down to sing to his Chisanzhi Mbira. It is not easy to understand the relationships between the pitch of the instrument and the pitch of the players voice. It appears to be consistant and must therefore bear some relationship in his mind. The scale of his Chisanzhi was:- 424, 380, 344, 304, 280, 266, 232, 212 vs. The tips of the players fingers were constantly moist and sticky and he kept a supply of dry sand beside him to rub on his finger tips before playing. Personal laments, with Chizanzhi Mbira
  • Full Text: false
  • Date Issued: 1952
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