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Abakaikula kitulayeza twena tucome Mlekule

- Siluvesitere Ilaliya, Hugh Tracey

  • Authors: Siluvesitere Ilaliya , 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/10962/172689 , vital:42271 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR147-04
  • Description: "When we harvest our crops we shall all enjoy dancing the Mlekule." Mlekule is a dance perfromed for the chief at his village. 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

Akamkungulu kagaya (Why are you angry)

- Wachezaji wa Manyanga. Leader, Kasomangila Husen Ishike, Hugh Tracey

  • Authors: Wachezaji wa Manyanga. Leader, Kasomangila Husen Ishike , Hugh Tracey
  • Date: 1950
  • Subjects: Nyamwezi (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Baraza Ndono f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173192 , vital:42342 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR149-09
  • Description: "Why are you angry with me, you are not my father, you are not my brother, leave me alone." This team of professional dancers do a number of acrobatic step dances. The rhythm of their movements is accentuated by the ankle bells. The drums only appear towards the end of the item. Dance song and 1 goblet pegged drum (-14.51101-) and bells (-12.55-).
  • Full Text: false
  • Date Issued: 1950

Awana wane wakuluganga

- Luchenje Nyanda with Sukuma men, Hugh Tracey

  • Authors: Luchenje Nyanda with Sukuma men , 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/10962/173632 , vital:42391 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR152-03
  • Description: Secret socities, charms and occult ideas are an everyday part of the lives of the Sukuma people. Charms and counter charms to a people who know no physical chain of cause and effect and only a vague one, are still considered valuable. The Wigasha dance is performed sitting down with most of the action confined to stretching up the arms and twisting the torso. The team of dancers performs routine actions in unision with arms and body. The song reflects the considerable ability of Sukuma people to compose and sing intricate songs.
  • Full Text: false
  • Date Issued: 1950

Balihaya huu, welelo yabela twishinye mbina

- Mazigwa Kaswende with Sukuma men and women, Hugh Tracey

Bana wane namuhekesha

- Bunwenge Meng'weta with Sukuma men, Hugh Tracey

Bugenda kilo

- Bangilana Nduhila with Zinza men and women, Hugh Tracey

Chausiku Mwenerunihola

- Peter Manyanga, Hugh Tracey

Ebyana bigendo mungolo

- Kanyogote Mdende with Zinza men and women, Hugh Tracey

  • Authors: Kanyogote Mdende with Zinza men and 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 Lunazi f-tz
  • Language: Zinza
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/172739 , vital:42275 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR147-08
  • Description: "Come here and I will give you more land. The Chief is pleased with the work of his headman." Four men and women were playing the one drum, each beating out his own rhythm on his quater of the membrane. Strangely enough this did not deaden the sound as one might have expected. Before the drum maker closes up his laced drum he places a small stone inside. This they call 'Moyo wengoma,' the drum's heart. It does not serve any musical purpose but is found in every drum in the region. Marunda dance song for men and women with 1 conical, laced drum.
  • Full Text: false
  • Date Issued: 1950

Eliso lyamukatata

- Tegalyoma Tilwesobwa with Zinza women, Hugh Tracey

Hadithi ya Manyanya (A Manyanya story)

- Manyanya Masuka with Sukuma men, Hugh Tracey

Harusi I

- Ngayamiso Kitunga, Hugh Tracey

  • Authors: Ngayamiso Kitunga , 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 Tabora f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/172914 , vital:42295 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR148-01
  • Description: Tunes played at weddings. The instrument was new and the notes not well hammered so the tone of the instrument was not as good as it might have been. Nevertheless the music is attractive. The tuning from left to right was:- 448, 372, 320, 244, 208, 168, 122, 244, 284, 336, 372, 416, 488 giving a heptatonic scale of:- 488, 448, 416, 372, 336, 320, 284, 244 vs. These items were recorded at Itetemia, the village of Chief N. S. Fundikira. Wedding tune, with Malimba Likembe.
  • Full Text: false
  • Date Issued: 1950

Harusi II

- Ngayamiso Kitunga, Hugh Tracey

  • Authors: Ngayamiso Kitunga , 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 Tabora f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/172923 , vital:42296 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR148-02
  • Description: Tunes played at weddings. The instrument was new and the notes not well hammered so the tone of the instrument was not as good as it might have been. Nevertheless the music is attractive. The tuning from left to right was:- 448, 372, 320, 244, 208, 168, 122, 244, 284, 336, 372, 416, 488 giving a heptatonic scale of:- 488, 448, 416, 372, 336, 320, 284, 244 vs. These items were recorded at Itetemia, the village of Chief N. S. Fundikira. Wedding tune, with Malimba Likembe.
  • Full Text: false
  • Date Issued: 1950

Hubaba tube mbele bana (Rock our babes to sleep)

- 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/10962/173504 , vital:42378 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR151-09
  • 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

Hulula mtemi wiswe (Our old chief has vanished)

- Idi Selemani and Hashima Kamata with Nyamwezi men and women, Hugh Tracey

  • Authors: Idi Selemani and Hashima Kamata with Nyamwezi men and women , Hugh Tracey
  • Date: 1950
  • Subjects: Nyamwezi (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwadui f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173273 , vital:42352 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR150-04
  • Description: "The name of the dance means "Go as you please" and it appears gives the dancers the freedom to do steps and movements as they wish and not in strict tempo or unison with other dancers. The style of singing is typical of those away from home and differs materially from the same type of song sung at home. Hiyari ya moyo dance song for men for men and women, with cylindrical laced drums and conical pegged (-14.22101-) and ankle bells (-12.55-).
  • Full Text: false
  • Date Issued: 1950

Ikulangamilaga kwilunde

- Mikengemalo Chaba with Sukuma men, Hugh Tracey

  • Authors: Mikengemalo Chaba with Sukuma men , Hugh Tracey
  • Date: 1950
  • Subjects: Nyamwezi (African people) , Sukuma (African people) , Folk songs, Sukuma , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwadui f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173331 , vital:42357 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR150-09
  • Description: "The red necked cock looked up to the sky." The cutting of cicatrices on the face is accompanied by songs such as these, and by festivities and dancing. There is a local breed of fowls which have no feathers on their necks and very red skin. The song refers to a certain diviner who used to smear his face and neck with red earth. The people of the village can be heard chatting and laughing during the song, and a bird can be heard in the background of the second song. Ucheyeki song for cutting cicatrices.
  • Full Text: false
  • Date Issued: 1950

Ikulangamilaga kwilunde

- Mikengemalo Chaba with Sukuma men, Hugh Tracey

  • Authors: Mikengemalo Chaba with Sukuma men , Hugh Tracey
  • Date: 1950
  • Subjects: Nyamwezi (African people) , Sukuma (African people) , Folk songs, Sukuma , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwadui f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173318 , vital:42359 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR150-09
  • Description: "The red necked cock looked up to the sky." The cutting of cicatrices on the face is accompanied by songs such as these, and by festivities and dancing. There is a local breed of fowls which have no feathers on their necks and very red skin. The song refers to a certain diviner who used to smear his face and neck with red earth. The people of the village can be heard chatting and laughing during the song, and a bird can be heard in the background of the second song. Ucheyeki song for cutting cicatrices.
  • Full Text: false
  • Date Issued: 1950

Ilikazi lyayango bulo

- 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/10962/172704 , vital:42272 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR147-05
  • Description: "The woman refuses food, but the child wants to eat some maize." 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

Jilumba Bukaga Mkukimdaga (Jilumba, come out here)

- Mwigolo Bin Kija with Sukuma men, Hugh Tracey

Kamenemene kanokimilembe

- Mwikuru Kija with Sukuma men, Hugh Tracey

Kamwezi sensa muyaya

- Idi Selemani with Nyamwezi men and women, Hugh Tracey

  • Authors: Idi Selemani with Nyamwezi men and 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 Dar-es-Salaam f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173056 , vital:42317 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR148-15
  • Description: "Do not play with my love. I will wait for her till she grows up and is ready to marry me." Mwanza is about the furthest limit of his geopraphical knowledge and he would therefore follow her to 'the ends of the earth'. It is the lake port at the south of the Lake Victoria about four hundred miles from Dar-es-Salaam where this item was composed and sung. The soloist, Idi, is a never ending source of enjoyment to his friends with a perfect set of mine gestures with which to illustrate the words he sings. Selemani's speech is a liberal mixture of Nyamwezi and Swahili. He leads these lively songs sung by a very lively company of Nyamwezi singers who bring out many surprises during their amusing performances. Humorous song with goblet drum, pegged and footed.
  • Full Text: false
  • Date Issued: 1950
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