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Abarinda nibarwana

- Eria Rubanda and Nkole men, Hugh Tracey

Ayemere Kasunau nkwanzi

- Faisi Wabunoha and Toro women, Hugh Tracey

Bwasemera obugenyi bwamunywami wange

- Paulo Rwavwogo with Toro men, Hugh Tracey

Doreka reka obwenzi

- Martin Zomwe and Ruguru men, Hugh Tracey

Ekigano kya Miyanda

- Rusania, Hugh Tracey

Ekigano ky’obusingye

- Erisa Kasise, Hugh Tracey

Ekizina ky’abaishiri

- Ferezi Bazamu and Nkole girls, Hugh Tracey

Ekizina ky’okuhingera

- Ferezi Bazamu and Nkole girls, Hugh Tracey

Ekyeshansha

- Katakura, Hugh Tracey

  • Authors: Katakura , Hugh Tracey
  • Date: 1950
  • Subjects: Music--Uganda , Nyoro (African people) , Nyankole (African people) , Folk music , Field recordings , Africa, Sub-Saharan
  • Language: Nyoro , Nyankole
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/170065 , vital:41854
  • Description: This strange and rather unmusical instrument is a plain J shaped bow of round section. The long arm of the J is held onto the left shoulder and the base of the bow stands on a resonator; a petrol tin, held there by the left hand. There are 3 strings two across the lower end of the bow which are plucked by the left thumb. The third (plucked with a stick plectrum) is stretched across the bow from the lower tip to near the upper hip. It is stoped by the player's chin, in one, two or three positions. A very simple accompaniment only is possible. The tuning of these strings was as follows; 364, 292, 198. 1. 364 vs. the shortest strng across the head of the bow. 2. 292 is the second string above it. 3. 198 is the stopped string. 1 is played by plucking with the left thumb. 2 is played by both the left thumb and by the plectrum in the right hand. 3 is played by the plectrum only. The song recalls the fighting with a certain tribe to the south which is now part of Tanganyika territory, and praises the old army. In this part of Africa and especially around the great lakes several reciters of legend use relatively unmusical instruments with which to provide a thrumming background to their declamations. Historic recitation with musical bow of three strings. Ekiningo.
  • Full Text: false

Ekyokuhimbisa batahibe

- Eri Kavigira, Hugh Tracey

  • Authors: Eri Kavigira , Hugh Tracey
  • Date: 1950
  • Subjects: Music--Uganda , Nyoro (African people) , Nyankole (African people) , Folk music , Field recordings , Africa, Sub-Saharan
  • Language: Nyoro , Nyankole
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/170225 , vital:41872
  • Description: A young boy recited the praises of noblemen. It is customary for a praise reciter to hold a spear upright in one hand resting the butt on the ground and gesticulating with the other; at the end of the chant he stabs the butt of the spear into the ground. This can be heard on the recording. Praise chant.
  • Full Text: false

Eky’evugo Ky’obumanzi

- Samuiri Rwomushana and his friend, Hugh Tracey

Eky’evugo Ky’okwema kwa Omugaba Gasyonga II

- Rusania, Hugh Tracey

Eky’omutwe gw’abarwane

- Katakura, Hugh Tracey

  • Authors: Katakura , Hugh Tracey
  • Date: 1950
  • Subjects: Music--Uganda , Nyoro (African people) , Nyankole (African people) , Folk music , Field recordings , Africa, Sub-Saharan
  • Language: Nyoro , Nyankole
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/170056 , vital:41853
  • Description: This strange and rather unmusical instrument is a plain J shaped bow of round section. The long arm of the J is held onto the left shoulder and the base of the bow stands on a resonator; a petrol tin, held there by the left hand. There are 3 strings two across the lower end of the bow which are plucked by the left thumb. The third (plucked with a stick plectrum) is stretched across the bow from the lower tip to near the upper hip. It is stoped by the player's chin, in one, two or three positions. A very simple accompaniment only is possible. The tuning of these strings was as follows; 364, 292, 198. 1. 364 vs. the shortest strng across the head of the bow. 2. 292 is the second string above it. 3. 198 is the stopped string. 1 is played by plucking with the left thumb. 2 is played by both the left thumb and by the plectrum in the right hand. 3 is played by the plectrum only. The song recalls the fighting with a certain tribe to the south which is now part of Tanganyika territory, and praises the old army. In this part of Africa and especially around the great lakes several reciters of legend use relatively unmusical instruments with which to provide a thrumming background to their declamations. Historic recitation with musical bow of three strings. Ekiningo.
  • Full Text: false

Enanga rwanzira

- Evanise Kanengere and Toro men and girls, Hugh Tracey

Ente za Kanyororo Abateza

- Nyamukuru, Hugh Tracey

Entoro y’omuhogo

- Rusania with Nkole men, Hugh Tracey

Igumira obuyatabara Ruanda

- Samuiri Rwakifunzi and Nkole men, Hugh Tracey

  • Authors: Samuiri Rwakifunzi and Nkole men , Hugh Tracey
  • Date: 1950
  • Subjects: Music--Uganda , Nyoro (African people) , Nyankole (African people) , Folk music , Field recordings , Africa, Sub-Saharan
  • Language: Nyoro , Nyankole
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/170074 , vital:41856
  • Description: Igumira was a local chief who used to go over into Rwanda and raid tribes there, the Tutsi and the Hutu. The song is now used for dancing the Ekitagururo dance in which mena nd women do a simple rhythmic shuffle with rattles attached to their calves. The rattles are flat containers made of stout grasses inside which wild canna seeds are thrown to and fro. They are held flat between the palms while the fingers may tap the lower side to enhance the main pulses or to syncopate the rhythm. Ekitagururo dance song, with conical drums, laced, single, played with sticks, and three earthenware pots and raft rattles.
  • Full Text: false

Igumira obuyatabara Ruanda

- Samuiri Rwakifunzi and Nkole men, Hugh Tracey

  • Authors: Samuiri Rwakifunzi and Nkole men , Hugh Tracey
  • Date: 1950
  • Subjects: Music--Uganda , Nyoro (African people) , Nyankole (African people) , Folk music , Field recordings , Africa, Sub-Saharan
  • Language: Nyoro , Nyankole
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/170083 , vital:41855
  • Description: Igumira was a local chief who used to go over into Rwanda and raid tribes there, the Tutsi and the Hutu. The song is now used for dancing the Ekitagururo dance in which mena nd women do a simple rhythmic shuffle with rattles attached to their calves. The rattles are flat containers made of stout grasses inside which wild canna seeds are thrown to and fro. They are held flat between the palms while the fingers may tap the lower side to enhance the main pulses or to syncopate the rhythm. Ekitagururo dance song, with conical drums, laced, single, played with sticks, and three earthenware pots and raft rattles.
  • Full Text: false

Ilemere abagorra nsonga ilemere

- Yohana Byabachwezi with Toro men, Hugh Tracey

Kaheru

- Tibamwenda with Toro men, Hugh Tracey

  • Authors: Tibamwenda with Toro men , Hugh Tracey
  • Date: 1950
  • Subjects: Music--Uganda , Nyoro (African people) , Nyankole (African people) , Folk music , Field recordings , Africa, Sub-Saharan
  • Language: Nyoro , Nyankole
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/170382 , vital:41915
  • Description: Kaheru was well known in the Bulahya district, all the more so because he was the unfortunate person who was injured by stones during blasting operations when the road to Bwamba was being constructed. Everyone was sad about it as Kaheru was a specially good dancer of Mateguru. Mateguru dance song for men and women with Emugudu cylindrical drum, footed, pegged, one conical drum laced, single, played with hands.
  • Full Text: false
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