Showing items 101 - 120 of 319

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Chingoma chakubaruka

- Reuben Tancard Mbuluwundi, Tumbuka and Henga men, Chigwamba, Siniato, Tracey, Hugh

Chingoma chakubaruka

- Reuben Tankadi Mbuluwundi, Tumbuka-Henga men, Simati Chigwamba, Tracey, Hugh

Coletta

- Kalenga Antonance, performer not specified, Composer not specified, Tracey, Hugh

Dziko lapansi ndiroipa

- Daniel, K, Performer not specified, Composer not specified, Tracey, Hugh

Kaba nyoro

- Ngbandi Men, Performer not specified, Composer not specified, Tracey, Hugh

Kalagala ebwembe

- Ntamivu za Kabaka, Performer not specified, Composer not specified, Tracey, Hugh

Katela I

- Kasai men and women, Hugh Tracey

  • Authors: Kasai men and women , Hugh Tracey
  • Date: 1952
  • Subjects: Folk music--Africa , Luba (African people) , Field recordings , Africa, Sub-Saharan , Africa Congo (Democratic Republic) Kasai f-rh
  • Language: Luba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/181950 , vital:43783 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR177-04
  • Description: This song and the accompanying dance is performed when there is a death in the village. Katela is the generic name of this type of dance song. A number of clapping rhythms occur in these songs including:- //1, ; 3, 4, ; 6, 7, ,//. Katela funeral dance with 2 drums, conical, pegged, single, open
  • Full Text: false
  • Date Issued: 1952

Katela I

- Kasai men and women, performer not specified, composer not specified, Tracey, Hugh

Katela I

- Kasai men and women, Bemba Men, Composer not specified, Tracey, Hugh

Ketu hunyinga

- Luba men and women, performer not specified, Composer not specified, Tracey, Hugh

Ketus Hunyinga

- Luba men and women, Performer not specified, Composer not specified, Tracey, Hugh

Kugama I

- Segbe and Ndongo men and women, Hugh Tracey

Kugama I

- Ndongo men and women, Performer not specified, Composer not specified, Tracey, Hugh

Maria so Kela mpepe

- Enoch Mpande, performer not specified, Composer not specified, Tracey, Hugh

Maria sokela mpepe

- Enoch Mpande, Performer not specified, Composer not specified, Tracey, Hugh

Marie Mama

- Francois Amisi Saleh, Performer not specified, Composer not specified, Tracey, Hugh

Muzeze

- Engbaka Philippe and friend, Hugh Tracey

  • Authors: Engbaka Philippe and friend , Hugh Tracey
  • Date: 1952
  • Subjects: Kusu (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Manyema f-cg
  • Language: Kusu
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/168878 , vital:41656 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0128-04
  • Description: The players friend sat beside him with another Ekembe on which he played one note by way of a rhythmic accompaniment as the second instrument was not peoperly in tune, and so they could not be played together. This policeman, it appears, would insist upon any man he arrested dancing before him to the tune of his Ekembe on their way to the police station. No one thought this to be an imposition and in fact both policeman and offender enjoyed the performances. While the third song was being played a man in the crowd was actually arrested by another member of the African Police and marched off. Muzeze song with Ekembe 10 note Likembe.
  • Full Text: false
  • Date Issued: 1952

Nkorangba eye

- Ngbandi men, Hugh Tracey

  • Authors: Ngbandi men , Hugh Tracey
  • Date: 1952
  • Subjects: Folk songs, Mangbetu , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Buta f-cg
  • Language: Ngbandi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/166958 , vital:41423 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0121-9
  • Description: These Ngombi Likembe (Mbira) are played with the instrument slung from the players shoulders. They are too large and heavy to be to be held between the hands as with the majority of this type and as a consequence the bamboo reeds or tongues are plucked downwards with the tips of the fingers with open palms. It is used as a rythmic rather than a melodic instrument. In our experience only the Pedi of the Northern Transvaal in South Africa play this instrument in a similar manner. The instrument is resonated on a large closed wooden bowl, oval in shape, 17 inches long and a tail 2 inches long. A triangular sound hole is cut into the flat top immediately beneath the free ends of the bamboo notes. It is tuned to a pentatonic scale of the following notes in order from left to right. 296, 148, 268, 134, 228, 200, 178, 256 vs. If 134 vs. is the Tonic, it would indicate thah the player is using both the true harmonc 4th (178 vs) and 5th (200 vs). The beating of the bamboo pole sounds almost like marching feet, and both this and the Ngombi are drowned by the strenght of the voices. Ngbandi dance with 2 Ngombi likembe with bamboo notes, and a long bamboo pole, beaten by several men.
  • Full Text: false
  • Date Issued: 1952

Obel Sibuth

- Owiti, Ger, Performer not specified, Tracey, Hugh

Oliviah Adhiambo

- Lang, Obiero, Performer not specified, Tracey, Hugh

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