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Nheura

- Chabarwa Musunda Sinyoro, Hugh Tracey

  • Authors: Chabarwa Musunda Sinyoro , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Salisbury f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180123 , vital:43316 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR172-01
  • Description: A song for entertaining the chief. The title of this song has persisted for generations, each no doubt setting its own topical words to the traditional air. This in turn has no doubt suffered many a change in the course of time but is still Nheura for all that. The yodelling by Shona musicians in Southern Rhodesia is a distictive characteristic of their music and is similar to the yodelling of the Mambuti pygmies of North East Congo and the Turi forest. Chabarwa is a Njanja from the Charter district where about 1750 A.D. a certain Portuguese mulatto trader married the chief's daughter and took the Mitupo or clan name of Sinyoro (Senhor) which has been handed down to his male descendants since that date. Leave your husband and let us dance. What I have said is very little. But not enough to leave your husband behind in the house. The dream of Hobe's wife is true, she dreamed about a wagon. It has come, you men. Tall men are lucky, even when they kneel down they are still big. You can do it too. You women, I will start. The children of today are wocked. They only learn to be 'wasters'. We will marry the children of the Zinjanja. There are women who wear skin aprons. But the cost of dresses spoil the country. Who have you come with? Four will come in and the fifth I will go with. Topical song sung for the entertainment of Chiefs, with Njari dza Manjanja (Mbira).
  • Full Text: false
  • Date Issued: 1950

Nidapalamula I

- Mami Nakwenda, Belifa Nyabanda, Two Chewa girls, Hugh Tracey

Nidapalamula II

- Mami Nakwenda, Belifa Nyabanda, Two Chewa girls, Hugh Tracey

Nigwa kolilila kaoma = I hear the beating of drums behind the hill

- Ntainta Buchili with Sukuma men and women, Hugh Tracey

  • Authors: Ntainta Buchili with Sukuma men and women , Hugh Tracey
  • Date: 1950
  • Subjects: Nyamwezi (African people) , Sukuma (African people) , Folk songs, Sukuma , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwanza f-tz
  • Language: Nyamwezi , Sukuma
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173495 , vital:42377 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR151-08
  • Description: The player is a cripple who is well known in the district for his playing of the musical bow, which he frequently does for dances. The words sung by this cripple player are most indistinct, as he has no teeth. The tune is used in the Kazori dance performed in lines in front of the drums, girls in a double line and boys in another double line behind. The lines keep time with the music and leap and move to left and right together. Kazori dance song for men and women, with Ndono one string musical bow and tin rattle (-12,54-).
  • Full Text: false
  • Date Issued: 1950

Nigwa milango jayu hilima

- Ernest Pole with Sukuma men, Hugh Tracey

Niila nkwoma tene

- Munyithya wa Kyenze, Hugh Tracey

  • Authors: Munyithya wa Kyenze , Hugh Tracey
  • Date: 1950
  • Subjects: Folk songs, Kamba , Kamba (African people) , Folk music--Kenya , Folk music , Field recordings , Africa, Sub-Saharan , Africa Kenya Machakos f-ke
  • Language: Kamba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/175833 , vital:42628 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR160-02
  • Description: ""It is long since I last sang your praises. It is long since I last saw you, my dear." The singer uses his lute as a rhythmic rather than a melodic instrument. His voice appears to be pitched well above the instrument. His voice appears to be pitched well above the two basic notes of his lute, but the interval may bear some constant relationship which is not discernable to a foreign ear at first hearing. On the other hand the lute may be considered as a two note 'drone' to the melody. It will be noticed that the pitch of his lute slightly lower in this and the next song "Musenga." Love song, with Mbebe, one string, bowed lute.
  • Full Text: false
  • Date Issued: 1950

Nimboroga

- Eriya Bakwasa, Hugh Tracey

  • Authors: Eriya Bakwasa , Hugh Tracey
  • Date: 1950
  • Subjects: Music--Uganda , Nyoro (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Hoima f-ug
  • Language: Nyoro
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/169733 , vital:41793 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0132-14
  • Description: The Ekidongo harp is a pleasing instrument in the hands of an expert. This man Eriya Bakwasa is a professional minstrel who makes his livelihood by singing songs. "I weep" he sings "because I am poor", a theme very popular among mendicant musicians. Self delectative song with Ekidongo eight string harp.
  • Full Text: false
  • Date Issued: 1950

Nimepata mpenzi, mtoto mdogo, mzuri simwachi = I have found my love, a beautiful girl

- Chipukizi Rumba, Hugh Tracey

  • Authors: Chipukizi Rumba , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwanza f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179604 , vital:43123 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR170-06
  • Description: This tune, an adaptation of a South American type of rumba, is perhaps the most popular of all town dance songs at the present time (1950) being sung in all the tons of Tanganyika and on the island of Zanzibar. The young men playing this version of the song did not know the words and sanf 'ia-la-la' instead. Swahili Rumbas with 2 Banjos, 1 Mandoline, 2 bass drums, 1 conical drum, laced, 2 kazoos, 2 whistles and a flute.
  • Full Text: false
  • Date Issued: 1950

Ninkutina

- Kabyoma Mashulamo with Haya men, Hugh Tracey

Nipande mpola baskeli

- Wibingile Kabaza, Hugh Tracey

  • Authors: Wibingile Kabaza , Hugh Tracey
  • Date: 1950
  • Subjects: Zinza (African people) , Rundi (African people) , Nyamwezi (African people) , Folk songs, Rundi , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Nyalubungo f-tz
  • Language: Zinza
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/172709 , vital:42273 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR147-06
  • Description: "I will ride the bicycle carefully because I am tired." The microphone started beneath the instrument and was moved above when he started singing in order to show the difference of tone between the upper and lower surfaces of the resonator. It is interesting to note that unlike the Likembe Mbira further south, the resonator of this instrument is broader at the top than at the bottom, i.e. the bridge end is the broader. The scale was:- 332, 308, 280, 252, 228, 204, 184, 166 vs. Self delecatative tune, with Marimbe Likembe, box resonated, 18 notes.
  • Full Text: false
  • Date Issued: 1950

Nitiren notera

- Bekyibei Arap Mosonik and Cheriro Arap Korogoren, Hugh Tracey

Nitunde upi, kula nitundao una nana

- Mwana Bibi with Swahili women, Hugh Tracey

  • Authors: Mwana Bibi with Swahili women , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Music--Kenya , Songs, Swahili--Kenya , Songs, Swahili--Tanzania , Field recordings , Africa, Sub-Saharan , Africa Kenya Malindi f-ke
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180039 , vital:43297 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR171-17
  • Description: The double reed Arab aboe accompanies an essentially African style of song. These Zumali oboes are bought from the Arab sailors who come down the coast every year in their dhows, sailing before the monsoon winds in each direction between the African east coast ports and the Persian Gulf. The calls and answers with which the women start their song contains a local variations of the English "Hip-hip-hurrah!" "hipo-hipo hure." Vugo dance song for women, with horn rattles, horns played with sticks, 2 cylindrical drums, double sided, laced, played with hands, 5 holed Zumali oboe.
  • Full Text: false
  • Date Issued: 1950

Nkanga zikulima

- Nyakela with Gogo man and women, Hugh Tracey

  • Authors: Nyakela with Gogo man and women , Hugh Tracey
  • Date: 1950
  • Subjects: Gogo (African people) , Songs, Gogo , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mvumi f-tz
  • Language: Gogo
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/174185 , vital:42450 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR154-10
  • Description: "Come and see how the Nkanga work in their garden." The Malimba were large trough shaped zithers, 3' 10" long supported at either end by two large gourds upon which they were held. Owing to the lowness of the notes they produced, the sound of the drums drowned them. But the three players shook their long strings of red ochred hair in most ecstatic style as they played and sang. The Zithers were tuned as follows:-103, 90, 84, 76, 63 vs. Both 76 and 63 vs had two strings each. The strings are plucked about 4 inches from one end. The spectators crowd around the small group of zither players and drummers, who sitting on the ground or standing holding their hour glass drums between their knees, jump and shake their long locks as if they were possessed. They say several hours of this performance frequently gives the performers a kind of involuntary hysteria which takes time to calm. The drums appear to be played out of tune with the rest of the performance. Dance song for Isumbi dance with 2 hour glass drums (-14.31201-), 3 Malimba trough zithers (-10.3515-), Ndwala bells (-12.55-), flat tin rattles(-12.54-).
  • Full Text: false
  • Date Issued: 1950

Nkete

- Eliazale Kazinduki, Hugh Tracey

  • Authors: Eliazale Kazinduki , Hugh Tracey
  • Date: 1950
  • Subjects: Music--Uganda , Haya (African people) , Nyoro (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Bukoba f-ug
  • Language: Nyoro , Haya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/171700 , vital:42113 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR143-02
  • Description: These horns, Makondere, are made of horn and of calabash gourds combined, bound together with skin (mostly cows tail) to keep the joints tight. They are cut open across the small end where a finger hole makes two notes possible on each horn. The mouthpiece is cut rectangularly on the side of the horn near the small end. These Makondere horn bands are now played upon special occasions at the chief's place. In the old days, they say, they were played after fighting when they came to report to the chief how they had fared. Victory song, after fighting with Makondere side blown horns, 1 conical laced drum (-14.22303-), 1 cylindrical, footed, pegged drum (14.01101-).
  • Full Text: false
  • Date Issued: 1950

Nkhawa na dada

- Joel Jere, Ngoni men, Hugh Tracey

  • Authors: Joel Jere , Ngoni men , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Songs, Tumbuka , Tumbuka (African people) , Field recordings , Africa, Sub-Saharan , Africa Malawi Nkata Bay f-mw
  • Language: Tumbuka
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/185047 , vital:44321 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR188-01
  • Description: The game sung here by men is usually played by children with two logs on the ground about 3 feet apart with another log between them like the letter H. The child lies along this third log and is bumped by the the others onto the first two at head and foot. This kind of singing game, they say has been done for twenty years or more. Singing game for children, with sticks beaten on the ground
  • Full Text: false
  • Date Issued: 1950

Nkhopa lero

- Widisoni Mazuku, Tumbuka men and women, Hugh Tracey

  • Authors: Widisoni Mazuku , Tumbuka men and women , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Songs, Tumbuka , Tumbuka (African people) , Field recordings , Africa, Sub-Saharan , Africa Malawi Kasungu f-mw
  • Language: Tumbuka
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/185543 , vital:44396 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR189-18
  • Description: This is an exhibition dance done by one or more dancers for the entertainment of the crowd. The drummers are men, friends of the solo dancer and the women of the village sing his dance song for him. His dance consists of a series of rhythmic shakes particularly from his waist down. He wears African made iron bells below the knee and above the ankle. Vimbuza dance song with 2 Goblet Mpanje drums and Mangwanda bells
  • Full Text: false
  • Date Issued: 1950

Nkingulila ngende

- Kyomile Kabanyolekile with Haya men, Hugh Tracey

  • Authors: Kyomile Kabanyolekile with Haya men , Hugh Tracey
  • Date: 1950
  • Subjects: Music--Uganda , Haya (African people) , Nyoro (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania / Uganda Bukoba f-tz / f-ug
  • Language: Nyoro , Haya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/171899 , vital:42136 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR144-01
  • Description: The fishermen haul in their nets onto the shore and call to each other instructions and encoragement. Lake Victoria is called Nyanja by the Haya people. "Open the door and let me out, I want to go to the village beyond." The singing of the fishermen as they go fishing out on the lake at night is a feature of the district. Their voices can be heard for miles across the quiet waters of the lake in behind the islands which protect their bay. They used a drum, they said, to help their singing as normally they would beat the gunwale of their canoe with the paddles. Fishing song, with conical laced drum beaten with sticks and clapping.
  • Full Text: false
  • Date Issued: 1950

Nkono Liyande

- Linilesi Sadiki with Yao girls, Hugh Tracey

  • Authors: Linilesi Sadiki with Yao girls , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Field recordings , Yao (African people) , Arts, Malawi , Folk music , Africa Malawi Blantyre Nyasaland f-mw
  • Language: Yao
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/154784 , vital:39775 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR083-13
  • Description: Once upon a time there lived a giant which had one leg, one arm and one of everything. The giant had a son who was born and grew in one day. The sons name was Apaka. One day Apaka went to play with his friends and came back singing so that the mother would let him in and here is the song, "Mbugulire mama, kaindeindei yate eja, Ndine Apaka, kaindeindei yate eja." A hyena learnt this song so that when he sang it to Apaka's mother she would open for him. Apaka's mother did not let the hyena in. She knew the voice was different from that of Apaka although it was the same song. Nkonoliyande was the giants name. Story song.
  • Full Text: false
  • Date Issued: 1950

Nkulagilienye omwaitu

- Norobeti Michaili with Haya boys, Hugh Tracey

Nkurukumbi

- Mwendera Kaijape with Haya women, Hugh Tracey

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