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Mzeno. 7th Movement

  • Authors: Ngodo of Regulo Canda , Chipendani Guyuza (Leader) , 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/10962/193099 , vital:45298 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR203-07
  • Description: A group of about 40 young women and girls joined the Ngodo for this movement, standing behind the dancers in order to take part in the singing. They knew all the words of the lyric by heart even the smallest of them and sang lustily with harsh voices. This development (if it is such) was never seen by me in any Mzeno in the 1940's. The result is no improvement upon the men's voices alone as a song, but was enjoyed by the whole village. Orchestral dance with 22 Timbila xylophones, 6 Chilanzane (Treble), 5 Sange (Alto), 5 Doli (Tenor), 3 Debiinda (Bass), 3 Gulu (Double Bass).
  • Full Text: false
  • Date Issued: 1963

Mzeno. 7th Movement

Mzeno. 8th Movement

Ndano. 6th Movement

  • Authors: Ngodo of Mavila , Shambini , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Zavala f-mz
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/190501 , vital:45000 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR198-07
  • Description: In this case, the Ndano movement comes before Ngeniso which appears to be unusual. There were 16 dancers and they took their 'call' while away to one side. The order and style of movements is decided by the leader of the orchestra and the leader of the dancers between them and varies from village to village. The words of the verses which underkie this movement are not heard in this recording but only the Tokozela exclamations and cries. Orchestral dance with 6 Timbila, 4 Sanzhe, 1 Debiinda, 1 Gulu and 1 rattle.
  • Full Text: false
  • Date Issued: 1963

Ndazwa ngengoma kurira

Ngaka

Ngeniso

  • Authors: Shambini , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Mavila f-mz
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/191316 , vital:45084 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR199-05
  • Description: Experiment in analytical recording. a. Right hand - 0m. 18s. b. Both hands. 0m. 31s. c. Left hand. 0m. 38s. d. Both hands. 0m. 53s. e. Up the instrument. 1m. 04s. f. Right hand. 1m. 15s. g. Both hands. 1m. 22s. h. Left hand. 1m. 27s. i. Both hands. 1m. 35s. j. Down the instrument. 1m. 43s. k. Right hand. 1m. 56s. l. Both hands. 2m. 06s. m. Left hand. 2m. 15s. n. Both hands. 2m. 27s. o. End. 2m. 42s. Calisto Zavala, a chopi xylophone player working near the library in South Africa found this recording very interesting and remarked that the analysis wouls be very helpful in learning to play this Ngeniso. Orchestral dance (left and right hand analysis) with 1 Timbila xylophone.
  • Full Text: false
  • Date Issued: 1963

Ngeniso. 4th Movement

  • Authors: Ngodo of Regulo Banguza , Jao Nemba Mboteya (Leader) , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Banguza f-mz
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/191357 , vital:45089 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR199-09
  • Description: Luzi Chowani is the name of the leader of the dancers. The drum which is used for this movement, in some but not all Chopi villages, is played to one side of the orchestra and slightly in front of the players. It is played rapidly with two sticks. The player was the son of Bokisi who came with me to Durban in 1943. The boy Kalozi is hoping that the girl Madikinyana will marry him and cherish his home. Orchestral dance with 16 Timbila xylophones, 2 Chilanzne (Treble), 8 Sange (Alto), 2 Doli (Tenor), 2 Debiinda (Bass), 2 Gulu (Double Bass) and 4 Njele rattles, 1 drum.
  • Full Text: false
  • Date Issued: 1963

Ngeniso. 6th Movement

  • Authors: Ngodo of Regulo Banguza , Mbuziana Tomo Buke (Leader) , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Zandamela f-mz
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/191526 , vital:45111 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR201-02
  • Description: It will be noticed that in a Ngodo which has been composed by a number of players the style varies between movements as with the present Ngodo of Zandamela. The advent of a dominating musical personality, such as Katini of Zavala, or Komukomu of Banguza, improves the whole situation. The music takes on a more defined shape. This year 1963 finds the Chopi temporarily short of front rank composers and players. "Listen all you people of Zandamela to hear about the law." Orchestral dance with 14 Timbila xylophones - 2 Chilanzane (Treble), 8 Sange (Alto), 1 Doli (Tenor), 1 Debiinda (Bass), 2 Gulu (Double Bass).
  • Full Text: false
  • Date Issued: 1963

Ngeniso. 7th Movement

  • Authors: Ngodo of Mavila , Shambini , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Zavala f-mz
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/190523 , vital:45002 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR198-08
  • Description: "Talking, talking, just talking! Happily eating the food of the women! Tommorrow comes the trouble! Then you will not be able to recognise anybody there." The 'd' is implosive in the word Ndeko. The words of the lyric were not distinct as the dancers dancing in line opposite the timbila were too far away and too out of breath from their exhertions to make themselves heard. The words dictated to me by Shambini were as above. Orchestral dance with 6 Timbila, 4 Sanzhe, 1 Debiinda, 1 Gulu and 1 rattle.
  • Full Text: false
  • Date Issued: 1963

Nini nge shikoko

  • Authors: Sara chi Gango , Chopi women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Zavala f-mz
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/193151 , vital:45303 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR204-01
  • Description: "Give me a cup (of beer or cidar)." In this district the most popular drink is made from the juice of the cashew apple. In some instances it is distilled, but is more usually drunk when freshly fermented in the months of October and November.The Shikoko is a small wooden goblet specially carved for the cashew season after the shape of a Portuguese wine glass. The name shikoko may come from the diminutive of Koko (a coconut). Drinking song with hand clapping.
  • Full Text: false
  • Date Issued: 1963

Numero uno we Regulo Rumbane

Nya udile

  • 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/10962/194192 , vital:45427 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR205-03
  • 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 weeping because my wife has left me though I still loved her." In this song, the singer says who he is, where he is, and the name of his chief, as well as other remarks. He continued his first song with additional verses in his third item. Tune on Chitende stressed bow.
  • Full Text: false
  • Date Issued: 1963

Nya udile II

  • 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/10962/194212 , vital:45430 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR205-05
  • 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. Song sung with additional verses. Tune on Chitende stressed bow.
  • Full Text: false
  • Date Issued: 1963

Nzara chinangu-nangu

O-o Mashego

  • Authors: Group of 10 young Pedi initiates (girls) , 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/10962/189132 , vital:44819 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR195-05
  • Description: Sung by the girls after the initiation ceremonies are over. They dress up in skins and wear small mirrors and go about among the houses and people, dancing and asking for presents. The initiation school lasts for two months and follows much the same lines as those of the Tswana. Many young Africans from Kenya southwards use metal whistles for their dances, blowing them continously as in this item; the result is deafening to the audience but apparently most enjoyable to the young who seem to be impervious to the noise. "Oh-oh Mashego has won. He has won by driving the wizards away." Three girls post-initiation song with 2 drums, leg rattles and whistles
  • Full Text: false
  • Date Issued: 1963

Rungano rgwe mukomana nherera

  • Authors: Runeso Gumbo and 2 friends , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Folk music--Zimbabwe , Karanga (African people) , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe Gutu f-rh
  • Language: Karanga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/195157 , vital:45534 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR210-11
  • Description: This is the story of a young orphan boy who was told to take his turn to herd all the the cattle of the village where he lived. But it was a time of drought and there was nothing for the cattle to eat. When his turn came he took them far away into the hills and then he sang a magic song. The rain came down in torrents, the grass grew and the cattle were happy. When they came back full. One of the men followed him to find out how it happened and heard and saw what he did. He was so impressed that he promised to give the boy his daughter in marriage and told what he had seen to all the village. They arranged a big party for the orphan boy during which he demonstrated how he sang and how the rain came for him. So he married the girl and they all lived happily ever afterwards and they made him their chief to rule over them. Ngano story.
  • Full Text: false
  • Date Issued: 1963

Rungano rgwe muno waikama maperi

  • Authors: Mamungu Gumbo , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Folk music--Zimbabwe , Karanga (African people) , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe Zaka f-rh
  • Language: Karanga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/195130 , vital:45531 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR210-08
  • Description: This is the story of a certain man who married a girl and always her plenty of milk so that she thought he must have many cows. But this was not so. This is what he did. Every morning he would go out into the bush, make a magic, and turn himself into a hyena. Then he would join a pack of hyenas and in this disguise milk one of them. Then having plenty of milk in his pot he would turn back a man and bring home the milk. His wife became suspicious as she never saw any cattle so she called her younger sister to come help her so;ve the mystery. She watched her sister's husband fro a distance. Saw him turn into a hyena, get the milk and come back with it. So she sang this lament and this manner she told all the people what had happened, that her elder sister had married a wizard. Ngano story.
  • Full Text: false
  • Date Issued: 1963

Rungano rgwe musikana usika shandi

  • Authors: Bodzwa Fanisa Mulhanga and her 2 daughters , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Folk music--Zimbabwe , Karanga (African people) , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe Chipinga f-rh
  • Language: Karanga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/195148 , vital:45533 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR210-10
  • Description: The daughters names were Melia and Elena Mahuto. This is the story of a girl who could do no manner of work and had to be looked after by her sisters. Eventually she was married and when she went to her husband's home she took three of her young sisters with her to look after her. One day when they had gone off to collect firewood, her mother-in-law asked her to pund a little grain in the mortar. She told her that this was impossible and that she must never do a stroke of work or she would die. The mother-in-law did not believe her and asked her to do just a few strokes with the pestle so that she could see for herself what would happen. She agreed and immediately fell down dead. When the three sisters returned with the firewood they found their sister was not there. Where was she? No one knew. They guessed what had happened and immediately they sang a magic song which revived her sister and she came alive again. When her husband's relatives saw all this they agreed that she must return to her own home and never come back as she could never make a good wife. Ngano story
  • Full Text: false
  • Date Issued: 1963

Rungano rgwe musikana wo mvura murugwizi

  • Authors: Mamungu Gumbo , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Folk music--Zimbabwe , Karanga (African people) , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe Zaka f-rh
  • Language: Karanga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/195139 , vital:45532 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR210-09
  • Description: This is the story of a young man who fell in love with a girl down by the river. He did not know that she was indeed a water sprite and lived in the river. He kept on asking her to marry him, and in the end she agreed but told him that if he wanted to see her he must always come to the river. Eventually he said he wanted to take her to his home, but she said "If you do that you must always have a pot of water with you in case I should faint and only water will revive me". So he agreed, and off they set along the path. Soon she began to faint and he rushed to fetch water from the nearest stream and so revived her. On they went until she fainted again and this time the stream was much further away and he only arrived back just in time to revive her. Now there was a long distance without a stream and in the middle of it she fainted once more. He went as fast as he could to fetch the life-giving water but when he got back it was too late and she was already dead; and that is how he lost his wife, his water sprite. Ngano story.
  • Full Text: false
  • Date Issued: 1963
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