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Rwakyesiga ensolima

- Babyesiga, Tracey, Hugh

  • Authors: Babyesiga , Tracey, Hugh
  • Date: 1950
  • Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Uganda city not specified f-ug
  • Language: Nyoro
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/295824 , vital:57381 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP1915-XYZ5351
  • Description: Indigenous music
  • Full Text: false
  • Date Issued: 1950

Rwakyesiga ensolima

- Babyesiga, Tracey, Hugh

  • Authors: Babyesiga , Tracey, Hugh
  • Date: 1950
  • Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Uganda city not specified f-ug
  • Language: Nyoro
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/295778 , vital:57378 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP1914-XYZ5352
  • Description: Indigenous music
  • Full Text: false
  • Date Issued: 1950

Rwakyesiga ensolima

- Babyesiga, performer not specified, Composer not specified, Tracey, Hugh

Rwakyesiga ensolima

- Babyesiga, performer not specified, Tracey, Hugh

Rwakyesiga ensolima

- Babyesiga, Hugh Tracey

  • Authors: Babyesiga , 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/10962/169651 , vital:41781 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0132-06
  • Description: "A mouse came to my house and stole the food from my pot." The singer yodells in typically African fashion. The tuning of this harp is as follows:- 336, 304, 252, 200, 168, (152), (126) vs, strings 7 and 8 were slightly out of tune, and should be 152 and 126. Topical song with Ekidongo eitht string horizontal harp.
  • Full Text: false
  • Date Issued: 1950

Rwosere

- Misaki Muswankuli, performer not specified, Tracey, Hugh

Rwosere

- Misaki Muswankuli and Ruli men, Hugh Tracey

  • Authors: Misaki Muswankuli and Ruli men , Hugh Tracey
  • Date: 1950
  • Subjects: Music--Uganda , Nyoro (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Kigumba Gombolole f-ug
  • Language: Nyoro
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/169829 , vital:41828 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0133-08
  • Description: "Rwosere was a person who did not like work. We do not like lazy people." If what we hear is true most men in this district must be called Rwosere. Four players perform on the one xylophone, three on one side and one on the other. Ntara dance with Ntara xylophone, 16 loose notes on temporary banana stalk supports.
  • Full Text: false
  • Date Issued: 1950

Rwosere

- Mburabwikyo, Festo, Ruli men, Tracey, Hugh

Safani ya Msanga-Tifu

- Kenga Mayele, Giryama men, composer not specified, Tracey, Hugh

Safari ya Msanga-Tifu

- Kanga Mayele with Giryama men, Hugh Tracey

  • Authors: Kanga Mayele with Giryama men , Hugh Tracey
  • Date: 1950
  • Subjects: Giryama (African people) , Folk music--Kenya , Folk music , Field recordings , Africa, Sub-Saharan , Africa Kenya Malindi f-ke
  • Language: Giryama
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/176612 , vital:42720 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR162-11
  • Description: "I was so much in love that I found myself in Msanga-Tifu, where my girl lives, without knowing how I had got there." The Msego dance is most attractive to watch and the ingenuity of the rhythm can be guessed from the sound of the dancers in this recording. Msego dance song for men and women with Kayamba raft rattles and clapping (-12.03-).
  • Full Text: false
  • Date Issued: 1950

Saiya Mikamba

- Yuspina Gadwin, Chaga girls, Folk, Tracey, Hugh

Saiya Mikamba

- Yuspina Gadwin with Ghaga girls, Hugh Tracey

  • Authors: Yuspina Gadwin with Ghaga girls , Hugh Tracey
  • Date: 1950
  • Subjects: Chaga (African people) , Songs, Gogo , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Marangu f-tz
  • Language: Gogo
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/174318 , vital:42466 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR155-09
  • Description: "Saiya Mikamba is sick." Marangu is the small village on the lower slopes of Mount Kilimanjaro. The first of these songs may not be an authentic Chaga song, but is rather similiar to songs in the schools. Temo dance song for girls with stamping and bass drums, laced, played with sticks, (-14.05303-).
  • Full Text: false
  • Date Issued: 1950

Salaam Twazitoa

- Sumba, William, Paul K. Majora, Composer not specified, Tracey, Hugh

Salebotswa tina ngendaba

- Sibanda, George, Composer not specified, Tracey, Hugh

Salibamba

- The Blue Hams Choir, Performer not specified, Composer not specified, Tracey, Hugh

Salumu sambusa

- Omari Saidi with Swahili men, Hugh Tracey

  • Authors: Omari Saidi with Swahili men , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Zanzibar f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179919 , vital:43249 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR171-05
  • Description: The Mkwaju dance is popular, they say, amongst the more African element of this Swahili population which also shows a tendency towards Arabian and sometimes to Indian music. The population of the island is complex and consists of representatives of several East African tribes in addition to Arab, Indian and Shirazi peoples, and their offspring of mixed marriages. The effect in terms of musical performances is equally complex without unanimity, a phenomena found in other communities of mixed tribal and national marriages. The xylophone is being used as a rhythmic and not as a melodic bass. As the singers wander away from the pitch set by the instrument and pay little or no regard to it. From the style of singing it is suspected that the melody comes from the coastal regions further south from the Makua people of Mozambique - No confirmation of this suggestion could be obtained largely on account of the fact that the performers were second or third generation of mixed marriages on the island. Mkwaju dance song for men, with Marimba xylophone box rattle (-12.61-) and 2 friction sticks (-12.61-).
  • Full Text: false
  • Date Issued: 1950

Salumu Sambusa

- Saidi, Omari, Swahili men, Folk, Tracey, Hugh

Salumu sambusa

- Omari Saidi with Swahili men, Hugh Tracey

  • Authors: Omari Saidi with Swahili men , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Zanzibar f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179929 , vital:43251 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR171-05
  • Description: The Mkwaju dance is popular, they say, amongst the more African element of this Swahili population which also shows a tendency towards Arabian and sometimes to Indian music. The population of the island is complex and consists of representatives of several East African tribes in addition to Arab, Indian and Shirazi peoples, and their offspring of mixed marriages. The effect in terms of musical performances is equally complex without unanimity, a phenomena found in other communities of mixed tribal and national marriages. The xylophone is being used as a rhythmic and not as a melodic bass. As the singers wander away from the pitch set by the instrument and pay little or no regard to it. From the style of singing it is suspected that the melody comes from the coastal regions further south from the Makua people of Mozambique - No confirmation of this suggestion could be obtained largely on account of the fact that the performers were second or third generation of mixed marriages on the island. Mkwaju dance song for men, with Marimba xylophone box rattle (-12.61-) and 2 friction sticks (-12.61-).
  • Full Text: false
  • Date Issued: 1950

Samaza

- Petro Manyanga, Hangaza women, Composer not specified, Tracey, Hugh

Samaza

- Peter Manyanga with Hangaza women, Hugh Tracey

  • Authors: Peter Manyanga with Hangaza women , 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 Shanga f-tz
  • Language: Rundi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/172813 , vital:42285 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR147-14
  • Description: It is significant that an Ndau man from the South East of Southern Rhodesian on hearing these songs claimed that the style of singing and the sound of the words were very like his own. It is believed that the five related tribes of Southern Rhodesia, now called Shona a common Hima strain from the north, and may well indicate a link with the legend of the Hima Bachwezi, who, the Rundi and Tutsi maintain, came down with them from the north but did not stay and went on south. The features of the singers showed a strong Hamite strain although clearly semi-Bantu. The fourth song has unusally clever little melody. These people come from the border of Rundi-Urundi (Rwanda) in Ngala district. Topical song, with clapping
  • Full Text: false
  • Date Issued: 1950
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