A critical analysis of Professor Andrew Tracey’s contribution to African music pedagogy and the field of applied ethnomusicology
- Authors: Moyo, Vuyelwa O'Lacy
- Date: 2022-10-14
- Subjects: Tracey, Andrew T N , Ethnomusicology , Music Instruction and study Africa , Mbira Zimbabwe
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406829 , vital:70311
- Description: The research presented in this thesis is based on my interest and experience in forms of African music, ethnomusicology, and studying mbira with Professor Emeritus Andrew Tracey. When I arrived in South Africa in 2019 to join Rhodes University’s Applied Ethnomusicology programme, I chose to study the mbira with Tracey as the idea of learning more about Zimbabwe through music was important to the formation of my identity. Through the lens of embodied learning and a practice-based approach in this research, I evaluate how Tracey’s numerous contributions to African music pedagogy have improved prospects for African music scholars and students in terms of contributing to the goals of applied ethnomusicology. The primary purpose of this thesis is to respond to the absence of serious scrutiny of existing pedagogical approaches to African music at universities across South Africa. The contribution this research makes will be valuable to African music programmes across the continent as well as to practitioners of African traditional instruments, such as the marimba, mbira, timbila xylophones, nyanga pan pipes, and valimba xylophones. The thesis comprises five chapters. The first presents an introduction to the research, and its goals, procedures and approaches, along with an outline of the subsequent chapters. Tracey’s biography is covered in the second chapter. A consideration of the state of African music teaching in other African countries such as Ghana, Kenya, and Zimbabwe; the history of African music; and the state of African music pedagogy in tertiary institutions in South Africa constitutes the third chapter. Chapter 4 comprises an analysis of Tracey’s articles and data gathered from interviews, as well as my personal reflections as Tracey’s student. The final chapter presents a summary of the preceding chapters, the study’s findings, and suggestions for further research. A multidisciplinary approach was used for this thesis. The results finds that Tracey’s articles had six common themes which he wrote about and are a contribution to African music pedagogy. These themes are the history of instruments, the structure of the instrument, the learning/playing technique, structure of the instrument, transcription and dance steps. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2022
- Full Text:
- Date Issued: 2022-10-14
- Authors: Moyo, Vuyelwa O'Lacy
- Date: 2022-10-14
- Subjects: Tracey, Andrew T N , Ethnomusicology , Music Instruction and study Africa , Mbira Zimbabwe
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406829 , vital:70311
- Description: The research presented in this thesis is based on my interest and experience in forms of African music, ethnomusicology, and studying mbira with Professor Emeritus Andrew Tracey. When I arrived in South Africa in 2019 to join Rhodes University’s Applied Ethnomusicology programme, I chose to study the mbira with Tracey as the idea of learning more about Zimbabwe through music was important to the formation of my identity. Through the lens of embodied learning and a practice-based approach in this research, I evaluate how Tracey’s numerous contributions to African music pedagogy have improved prospects for African music scholars and students in terms of contributing to the goals of applied ethnomusicology. The primary purpose of this thesis is to respond to the absence of serious scrutiny of existing pedagogical approaches to African music at universities across South Africa. The contribution this research makes will be valuable to African music programmes across the continent as well as to practitioners of African traditional instruments, such as the marimba, mbira, timbila xylophones, nyanga pan pipes, and valimba xylophones. The thesis comprises five chapters. The first presents an introduction to the research, and its goals, procedures and approaches, along with an outline of the subsequent chapters. Tracey’s biography is covered in the second chapter. A consideration of the state of African music teaching in other African countries such as Ghana, Kenya, and Zimbabwe; the history of African music; and the state of African music pedagogy in tertiary institutions in South Africa constitutes the third chapter. Chapter 4 comprises an analysis of Tracey’s articles and data gathered from interviews, as well as my personal reflections as Tracey’s student. The final chapter presents a summary of the preceding chapters, the study’s findings, and suggestions for further research. A multidisciplinary approach was used for this thesis. The results finds that Tracey’s articles had six common themes which he wrote about and are a contribution to African music pedagogy. These themes are the history of instruments, the structure of the instrument, the learning/playing technique, structure of the instrument, transcription and dance steps. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2022
- Full Text:
- Date Issued: 2022-10-14
Indigenous and traditional musics in the school classroom : a re-evaluation of the South African Indigenous African Music (IAM) curriculum
- Authors: McConnachie, Boudina
- Date: 2017
- Subjects: Ethnomusicology , Indigenous people -- Music , Music -- Instruction and study -- Africa , Music -- Instruction and study -- Curricula -- Africa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:21182 , http://hdl.handle.net/10962/6806
- Description: Musical ideals set by European standards and values, entrenched through colonial oppression and promoted by the continued veneration of Western culture need to be re-evaluated. Despite the intention of the ANC government, through the Department of Basic Education's Curriculum and Assessment Policy Statement music curricula, to integrate Indigenous Knowledge and musics into the South African classroom, evidence shows that opportunities to do so are not seized. With reference to the proclaimed values of an African sensibility in the model of the South African music education curriculum, the history of its development and the current pedagogical movement towards transformation in the production of knowledge and the inclusion of Indigenous Knowledge (IK), this thesis questions why teachers in government schools in South Africa are not executing the Indigenous African Music (IAM) syllabus in the CAPS FET music curriculum. Taking the history of music education and the development of curriculum models and frameworks into account, it interrogates what strategies could improve the application of the current music curriculum in government schools in South Africa. These questions are addressed in the thesis by way of a discussion of the music curriculum and what its praxis in the classroom reveals about its efficacy, through observations and personal experiences, the observations of teachers and student teachers, a comparison with the experience in Zimbabwe, and an analysis of the music curriculum as it is currently devised and implemented. Straddling three methodological approaches, namely the ethnographic, the autoethnographic and the action research approach this study finds that the CAPS FET music curriculum does provide realistic opportunities to engage with African Indigenous and traditional music. This, however, is dependent upon the training of the teacher, facilities available in the classroom and the prior knowledge of the learner. A fundamental flaw of this curriculum is the approach to practical assessment of Indigenous and traditional African musics and the lack of assessment criteria and practical guidelines. In addition, the findings suggest that the fault regarding implementation of the curriculum lies in the training of students (who become teachers) at tertiary level, where an integrated approach to skills development regarding Indigenous African music is suggested.
- Full Text:
- Date Issued: 2017
- Authors: McConnachie, Boudina
- Date: 2017
- Subjects: Ethnomusicology , Indigenous people -- Music , Music -- Instruction and study -- Africa , Music -- Instruction and study -- Curricula -- Africa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:21182 , http://hdl.handle.net/10962/6806
- Description: Musical ideals set by European standards and values, entrenched through colonial oppression and promoted by the continued veneration of Western culture need to be re-evaluated. Despite the intention of the ANC government, through the Department of Basic Education's Curriculum and Assessment Policy Statement music curricula, to integrate Indigenous Knowledge and musics into the South African classroom, evidence shows that opportunities to do so are not seized. With reference to the proclaimed values of an African sensibility in the model of the South African music education curriculum, the history of its development and the current pedagogical movement towards transformation in the production of knowledge and the inclusion of Indigenous Knowledge (IK), this thesis questions why teachers in government schools in South Africa are not executing the Indigenous African Music (IAM) syllabus in the CAPS FET music curriculum. Taking the history of music education and the development of curriculum models and frameworks into account, it interrogates what strategies could improve the application of the current music curriculum in government schools in South Africa. These questions are addressed in the thesis by way of a discussion of the music curriculum and what its praxis in the classroom reveals about its efficacy, through observations and personal experiences, the observations of teachers and student teachers, a comparison with the experience in Zimbabwe, and an analysis of the music curriculum as it is currently devised and implemented. Straddling three methodological approaches, namely the ethnographic, the autoethnographic and the action research approach this study finds that the CAPS FET music curriculum does provide realistic opportunities to engage with African Indigenous and traditional music. This, however, is dependent upon the training of the teacher, facilities available in the classroom and the prior knowledge of the learner. A fundamental flaw of this curriculum is the approach to practical assessment of Indigenous and traditional African musics and the lack of assessment criteria and practical guidelines. In addition, the findings suggest that the fault regarding implementation of the curriculum lies in the training of students (who become teachers) at tertiary level, where an integrated approach to skills development regarding Indigenous African music is suggested.
- Full Text:
- Date Issued: 2017
Religious musical performance as an articulation of transformation : a study of how the Tsonga Presbyterians of the Presbyterian Church of Mozambique negotiate their indigenous Tsonga and Swiss reformed church heritages
- Authors: Germiquet, Nicole Madeleine
- Date: 2015
- Subjects: Igreja Presbiteriana de Moçambique , Sacred music -- Mozambique , Church music -- Mozambique , Church music -- Presbyterian , Tsonga (African people) -- Mozambique -- Music , Ethnomusicology , Church music -- Cross-cultural studies
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2699 , http://hdl.handle.net/10962/d1020836
- Description: The Presbyterian Church of Mozambique (IPM) has its origins in the Swiss Mission and the European Reformed Church. An ethnomusicological study was conducted on the music of the IPM in order to uncover its musical influences. The musical influences were found to pertain to an indigenous Tsonga musical character, as well as to a Reformed Church musical tradition. By situating the discussion in this thesis within the perspective that music may reflect that which is not explicitly spoken about in words, the music of the IPM was shown to reflect the dual-heritage of the members of the IPM. Thus, this thesis attempts to answer the questions: how is the music of the IPM a reflection of the Tsonga Presbyterians’ dual-heritage?; and how do the Tsonga Presbyterians negotiate their dual-heritage? It was found that the Tsonga Presbyterians negotiate their dual-heritage by blending a Reformed Church performance style with a Tsonga one. For example, the music in the form of hymns and church songs, performed by church choirs, is shown to be didactic in nature where the lyrics are the most important aspect of the music. The didactic nature of the music is a principle of the Reformation carried forth in the music of the IPM. Although music serves to transmit the Christian message and is used as a means of praising the Christian God in the IPM, it also exists on the level in which the indigenous Tsonga heritage may be incorporated into the Christian lives of the members of the IPM without having an impact on the Reformed Church belief system. This is where the members have the freedom to blend their musical heritages. Music, in this instance, is shown to be a powerful tool by which the importance of an indigenous, and an appropriated, heritage may be garnered and observed.Looking to the historical aspects of the IPM, the music and language literacy education, provided by Swiss missionaries on the mission stations, was shown to have had an influence on Tsonga hymn composition. Along with the mobile phone, the observed decrease in music literacy at Antioka was situated within a discussion that looked at the influence of these aspects on the transmission, conservation and continuation of music in the IPM. Throughout the thesis, social transformation is referred to and the manner in which the music of the IPM is conserved or continued is an indication of how musical transformation may reflect social transformation.
- Full Text:
- Date Issued: 2015
- Authors: Germiquet, Nicole Madeleine
- Date: 2015
- Subjects: Igreja Presbiteriana de Moçambique , Sacred music -- Mozambique , Church music -- Mozambique , Church music -- Presbyterian , Tsonga (African people) -- Mozambique -- Music , Ethnomusicology , Church music -- Cross-cultural studies
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2699 , http://hdl.handle.net/10962/d1020836
- Description: The Presbyterian Church of Mozambique (IPM) has its origins in the Swiss Mission and the European Reformed Church. An ethnomusicological study was conducted on the music of the IPM in order to uncover its musical influences. The musical influences were found to pertain to an indigenous Tsonga musical character, as well as to a Reformed Church musical tradition. By situating the discussion in this thesis within the perspective that music may reflect that which is not explicitly spoken about in words, the music of the IPM was shown to reflect the dual-heritage of the members of the IPM. Thus, this thesis attempts to answer the questions: how is the music of the IPM a reflection of the Tsonga Presbyterians’ dual-heritage?; and how do the Tsonga Presbyterians negotiate their dual-heritage? It was found that the Tsonga Presbyterians negotiate their dual-heritage by blending a Reformed Church performance style with a Tsonga one. For example, the music in the form of hymns and church songs, performed by church choirs, is shown to be didactic in nature where the lyrics are the most important aspect of the music. The didactic nature of the music is a principle of the Reformation carried forth in the music of the IPM. Although music serves to transmit the Christian message and is used as a means of praising the Christian God in the IPM, it also exists on the level in which the indigenous Tsonga heritage may be incorporated into the Christian lives of the members of the IPM without having an impact on the Reformed Church belief system. This is where the members have the freedom to blend their musical heritages. Music, in this instance, is shown to be a powerful tool by which the importance of an indigenous, and an appropriated, heritage may be garnered and observed.Looking to the historical aspects of the IPM, the music and language literacy education, provided by Swiss missionaries on the mission stations, was shown to have had an influence on Tsonga hymn composition. Along with the mobile phone, the observed decrease in music literacy at Antioka was situated within a discussion that looked at the influence of these aspects on the transmission, conservation and continuation of music in the IPM. Throughout the thesis, social transformation is referred to and the manner in which the music of the IPM is conserved or continued is an indication of how musical transformation may reflect social transformation.
- Full Text:
- Date Issued: 2015
Hugh Tracey memorial service
- Philip Tobias (Speaker), Tracey, Andrew T N
- Authors: Philip Tobias (Speaker) , Tracey, Andrew T N
- Date: 1977
- Subjects: Tracey, Hugh , Memorial service , Anthropology , Ethnomusicology , Sub-Saharan African music , Africa South Africa Saronde Farm f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/113264 , vital:33737 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC131b-03
- Description: Philip Tobias speaking of his first encounter with Hugh Tracey's; Hugh Tracey's contribution on his works of anthropology; his pioneer study of African music termed as ethnomusicology; summary of Hugh Tracey as black man with a white face whose writings were excellent, great communicator and that Hugh Tracey saw music of Africa as the voice of the soul of Africa
- Full Text: false
- Date Issued: 1977
- Authors: Philip Tobias (Speaker) , Tracey, Andrew T N
- Date: 1977
- Subjects: Tracey, Hugh , Memorial service , Anthropology , Ethnomusicology , Sub-Saharan African music , Africa South Africa Saronde Farm f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/113264 , vital:33737 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC131b-03
- Description: Philip Tobias speaking of his first encounter with Hugh Tracey's; Hugh Tracey's contribution on his works of anthropology; his pioneer study of African music termed as ethnomusicology; summary of Hugh Tracey as black man with a white face whose writings were excellent, great communicator and that Hugh Tracey saw music of Africa as the voice of the soul of Africa
- Full Text: false
- Date Issued: 1977
Hugh Tracey memorial service
- Philip Tobias (Speaker), Tracey, Andrew T N
- Authors: Philip Tobias (Speaker) , Tracey, Andrew T N
- Date: 1977
- Subjects: Tracey, Hugh , Memorial service , Anthropology , Ethnomusicology , Sub-Saharan African music , Africa South Africa Saronde Farm f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/112597 , vital:33623 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC129a-03
- Description: Philip Tobias speaking of his first encounter with Hugh Tracey's; Hugh Tracey's contribution on his works of anthropology; his pioneer study of African music termed as ethnomusicology; summary of Hugh Tracey as 'black man with a white face' whose writings were excellent, great communicator and that Hugh Tracey saw music of Africa as the voice of the soul of Africa
- Full Text: false
- Date Issued: 1977
- Authors: Philip Tobias (Speaker) , Tracey, Andrew T N
- Date: 1977
- Subjects: Tracey, Hugh , Memorial service , Anthropology , Ethnomusicology , Sub-Saharan African music , Africa South Africa Saronde Farm f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/112597 , vital:33623 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC129a-03
- Description: Philip Tobias speaking of his first encounter with Hugh Tracey's; Hugh Tracey's contribution on his works of anthropology; his pioneer study of African music termed as ethnomusicology; summary of Hugh Tracey as 'black man with a white face' whose writings were excellent, great communicator and that Hugh Tracey saw music of Africa as the voice of the soul of Africa
- Full Text: false
- Date Issued: 1977
Hugh Tracey memorial service 1
- Stanley Grassow (1st speaker), Dennis Etheredge (2nd speaker), Dr Philip Tobias (3rd Speaker), Tracey, Andrew T N
- Authors: Stanley Grassow (1st speaker) , Dennis Etheredge (2nd speaker) , Dr Philip Tobias (3rd Speaker) , Tracey, Andrew T N
- Date: 1977
- Subjects: Tracey, Hugh , Memorial service , Autobiography , Ethnomusicology , Sub-Saharan African music , Africa South Africa Saronde Farm f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/112171 , vital:33555 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC127a-01
- Description: Stanley Grassow talking about Hugh Tracey's background of his cresendo music followed by prayer , Dennis Etheredge giving a brief background on Hugh Tracey autobiography which he had read entitled "A river left for me" and also how ILAM came into being in 1953 , Philip Tobias speaking of his first encounter with Hugh Tracey's; Hugh Tracey's contribution on his works of anthropology; his pioneer study of African music termed as ethnomusicology; summary of Hugh Tracey as black man with a white face whose writings were excellent, great communicator and that Hugh Tracey saw music of Africa as the voice of the soul of Africa
- Full Text: false
- Date Issued: 1977
- Authors: Stanley Grassow (1st speaker) , Dennis Etheredge (2nd speaker) , Dr Philip Tobias (3rd Speaker) , Tracey, Andrew T N
- Date: 1977
- Subjects: Tracey, Hugh , Memorial service , Autobiography , Ethnomusicology , Sub-Saharan African music , Africa South Africa Saronde Farm f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/112171 , vital:33555 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC127a-01
- Description: Stanley Grassow talking about Hugh Tracey's background of his cresendo music followed by prayer , Dennis Etheredge giving a brief background on Hugh Tracey autobiography which he had read entitled "A river left for me" and also how ILAM came into being in 1953 , Philip Tobias speaking of his first encounter with Hugh Tracey's; Hugh Tracey's contribution on his works of anthropology; his pioneer study of African music termed as ethnomusicology; summary of Hugh Tracey as black man with a white face whose writings were excellent, great communicator and that Hugh Tracey saw music of Africa as the voice of the soul of Africa
- Full Text: false
- Date Issued: 1977
Hugh Tracey memorial service 2
- Gambo Khumalo (Speaker), Andrew Tracey (Transalator and Speaker), Paul Tracey and Andrew Tracey (Performer), Henry Howell (Speaker), Phyllida Wentzel (Speaker), Irene Frongs (Speaker), Jill Hyacinth (Speaker), Tracey, Andrew T N
- Authors: Gambo Khumalo (Speaker) , Andrew Tracey (Transalator and Speaker) , Paul Tracey and Andrew Tracey (Performer) , Henry Howell (Speaker) , Phyllida Wentzel (Speaker) , Irene Frongs (Speaker) , Jill Hyacinth (Speaker) , Tracey, Andrew T N
- Date: 1977
- Subjects: Tracey, Hugh , Memorial service , Autobiography , Ethnomusicology , Sub-Saharan African music , Africa South Africa Saronde Farm f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/112199 , vital:33558 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC127b-01
- Description: Gambo Khumalo paying tribute to Hugh Tracey on behalf of workers, stating their good working relationship with their master as they called Hugh Tracey and also mentioning Hugh Tracey's close relationship with Tshabalala and Daniel Mabuto who travelled with him all over Africa , Andrew Tracey the son reiterating his father's and family close relationship with Daniel Mabuto and Tshabalala and made a significant note to the Tshabalala family and those gathered for memorial service that Tshabalala died exactly a year ago on 23 October 1976 before his father Hugh Tracey who passed away 22 October 1977 , Mention of Paul Tracey and Andrew Tracey having inherited their father's musical gift, launched Wait a Minim and Paul performed a song which Hugh Tracey loved best from Wait a Minim entitled "my love is like a red rose" by Robert Burns accompanied by a flute , Tribute about Hugh Tracey's well beloved books namely 'Gitangali' and 'Faith of an Artist' which were inseparable from Hugh, mention of Hugh Tracey's other closer friend namely Babu Chipika from Rhodesia who was his constant companinion in Rhodesian bush, Hugh Tracey's devotion to Babu Chipika that Hugh actually painted Babu Chipika's portrait in pastels while playing the Chipendani bow and reading of verse authored by Tagore which depicted Hugh Tracey's friendship with Babu Chipika , Playing of Kalimba by Andrew Tracey of his father's favourite tune, litte bar which never failed to amaze people , A Reading of Hugh Tracey's Christmas Card printed for him two months ago and the read verse was an extract from the book 'Faith of an artist' , Irene Frongs former Greek student friend singing an ancient lullaby with guitar accompaniment in tribute to Hugh Tracey of work almost forgotten in Greece, this emanating from Hugh Tracey who encouraged her to do the Greek background and its heritage for her thesis , Mention by Jill Hyacinth the survived wife that Hugh Tracey's ashes shall be scattered in the valley surroundings or in the garden and this followed by reading an extract which confirms how Hugh Tracey loved the valley
- Full Text: false
- Date Issued: 1977
- Authors: Gambo Khumalo (Speaker) , Andrew Tracey (Transalator and Speaker) , Paul Tracey and Andrew Tracey (Performer) , Henry Howell (Speaker) , Phyllida Wentzel (Speaker) , Irene Frongs (Speaker) , Jill Hyacinth (Speaker) , Tracey, Andrew T N
- Date: 1977
- Subjects: Tracey, Hugh , Memorial service , Autobiography , Ethnomusicology , Sub-Saharan African music , Africa South Africa Saronde Farm f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/112199 , vital:33558 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC127b-01
- Description: Gambo Khumalo paying tribute to Hugh Tracey on behalf of workers, stating their good working relationship with their master as they called Hugh Tracey and also mentioning Hugh Tracey's close relationship with Tshabalala and Daniel Mabuto who travelled with him all over Africa , Andrew Tracey the son reiterating his father's and family close relationship with Daniel Mabuto and Tshabalala and made a significant note to the Tshabalala family and those gathered for memorial service that Tshabalala died exactly a year ago on 23 October 1976 before his father Hugh Tracey who passed away 22 October 1977 , Mention of Paul Tracey and Andrew Tracey having inherited their father's musical gift, launched Wait a Minim and Paul performed a song which Hugh Tracey loved best from Wait a Minim entitled "my love is like a red rose" by Robert Burns accompanied by a flute , Tribute about Hugh Tracey's well beloved books namely 'Gitangali' and 'Faith of an Artist' which were inseparable from Hugh, mention of Hugh Tracey's other closer friend namely Babu Chipika from Rhodesia who was his constant companinion in Rhodesian bush, Hugh Tracey's devotion to Babu Chipika that Hugh actually painted Babu Chipika's portrait in pastels while playing the Chipendani bow and reading of verse authored by Tagore which depicted Hugh Tracey's friendship with Babu Chipika , Playing of Kalimba by Andrew Tracey of his father's favourite tune, litte bar which never failed to amaze people , A Reading of Hugh Tracey's Christmas Card printed for him two months ago and the read verse was an extract from the book 'Faith of an artist' , Irene Frongs former Greek student friend singing an ancient lullaby with guitar accompaniment in tribute to Hugh Tracey of work almost forgotten in Greece, this emanating from Hugh Tracey who encouraged her to do the Greek background and its heritage for her thesis , Mention by Jill Hyacinth the survived wife that Hugh Tracey's ashes shall be scattered in the valley surroundings or in the garden and this followed by reading an extract which confirms how Hugh Tracey loved the valley
- Full Text: false
- Date Issued: 1977
- «
- ‹
- 1
- ›
- »