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Nheura

- Chabarwa Musunda Sinyoro, Hugh Tracey

  • Authors: Chabarwa Musunda Sinyoro , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Salisbury f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180123 , vital:43316 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR172-01
  • Description: A song for entertaining the chief. The title of this song has persisted for generations, each no doubt setting its own topical words to the traditional air. This in turn has no doubt suffered many a change in the course of time but is still Nheura for all that. The yodelling by Shona musicians in Southern Rhodesia is a distictive characteristic of their music and is similar to the yodelling of the Mambuti pygmies of North East Congo and the Turi forest. Chabarwa is a Njanja from the Charter district where about 1750 A.D. a certain Portuguese mulatto trader married the chief's daughter and took the Mitupo or clan name of Sinyoro (Senhor) which has been handed down to his male descendants since that date. Leave your husband and let us dance. What I have said is very little. But not enough to leave your husband behind in the house. The dream of Hobe's wife is true, she dreamed about a wagon. It has come, you men. Tall men are lucky, even when they kneel down they are still big. You can do it too. You women, I will start. The children of today are wocked. They only learn to be 'wasters'. We will marry the children of the Zinjanja. There are women who wear skin aprons. But the cost of dresses spoil the country. Who have you come with? Four will come in and the fifth I will go with. Topical song sung for the entertainment of Chiefs, with Njari dza Manjanja (Mbira).
  • Full Text: false
  • Date Issued: 1950

Andisaguta (I am not full)

- Zazi with Karanga women, Hugh Tracey

Baya, wa baya, ho-ha-ho!

- Jima Shumba with Duma men and women, Hugh Tracey

  • Authors: Jima Shumba with Duma men and women , Hugh Tracey
  • Date: 1949
  • Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Bikita f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180556 , vital:43402 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR173-14
  • Description: This song is known over the whole lenght and breadth of the Karanga country. It was first sung, they say, in the 19th century as a fighting song against the Ndebele under Mzilikatsi from the west and the Shangaans under Ngungunyana from the east. These two Ngoni tribes from Zululand met on the Mtilikwe River and decided to keep to their on side of the river raiding the villages on either hand. "Kuwerure" they cry, when two sides meet in battle. Fighting song.
  • Full Text: false
  • Date Issued: 1949

Chaminuka teera wamwe (Chaminuka follows others)

- Manyoni Wanyamande, Hugh Tracey

  • Authors: Manyoni Wanyamande , Hugh Tracey
  • Date: 1949
  • Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Fort Victoria f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180241 , vital:43341 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR172-13
  • Description: Chaminuka is the name given to a whole line of religious prophets who for many generations led the spiritual life and thoughts of the Karanga people. One of the Chaminuka prophets is said to have smitten the waters of the Zambezi so that the river parted. The Karanga people came over dry foot. His soul, they say, first flew across the river in the form of a dove. Towards the end of the song, the singer breaks into the local patois, representing a conversation between him and a 'Mujoni'. a policeman on a horse. Humorous song with Njari (Mbira).
  • Full Text: false
  • Date Issued: 1949

Chimwanikoda

- Munthuanengwi Muhlanga, Hugh Tracey

  • Authors: Munthuanengwi Muhlanga , Hugh Tracey
  • Date: 1949
  • Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Gwelo f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180348 , vital:43355 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR173-04
  • Description: An unusual musical bow on account of the use of a bridge ith which to divide the string into two segements and convey the sound direct to a small drum like resonator attached to the bow near its center. This simple little bow is played with an ox-tail bow near the point of stress. A thin stick is inserted between the gourd's membrane and the wire, conveying the sound down to the resonator and also dividing the single string into two unequal segments. The player stops the shorter of the two, thus producing the fundamental note on the longer segment and two or three notes on the shorter. It is perhaps strange to think that this product could prove entertaining and satisfactory to the performer. Self delectative song, with Chimwanikoda bowed musical bow, braced.
  • Full Text: false
  • Date Issued: 1949

Chomusikana Mandega I (The Girl, Mandega)

- Boys of Domboshawa Government School, Hugh Tracey

Dududu, ndakaringo

- Duma men, Hugh Tracey

Gombahari murume (Gombahari, the jealous husband)

- Manyoni Wanyamande, Hugh Tracey

Gororombe yawakuru (Gorombe of the elders)

- Saimoni Mashoka, Hugh Tracey

  • Authors: Saimoni Mashoka , Hugh Tracey
  • Date: 1949
  • Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Buhera f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180194 , vital:43331 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR172-08
  • Description: By 2 men and 3 women. The word 'Gororombe' now refers to a certain flute ensemble dance, but it appears that it may have been used for other dances as well in ancient times. The singers come from the Buhera district of central Southern Rhodesia. Song for Mashawi dance, with two Njari (Mbira), one 29 note and one 23 note.
  • Full Text: false
  • Date Issued: 1949

Iranga rachona

- Chabarwa Musunda Sinyoro, Hugh Tracey

  • Authors: Chabarwa Musunda Sinyoro , Hugh Tracey
  • Date: 1949
  • Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Salisbury f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180176 , vital:43329 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR172-06
  • Description: This is the Njari version of the famous "Ilanga la Shona" which became so popular when first sung in Bulawayo in about 1946. Several versions in different languages have appeared since then. The original was sung to the guitar and this setting to the traditional instrument is particularly interesting. The Karanga or 'Shona', as opposed to the Nguni speaking Ndebele of the South west of the country, do not use the letter 'L' but change it to 'R'. Topical song ith Njari (Mbira).
  • Full Text: false
  • Date Issued: 1949

Ishe komborera Afrika (Prayer for Africa)

- Boys of Domboshawa Government School, Hugh Tracey

Kutauro no muridzo

- Kutauro no muridzo, Hugh Tracey

  • Authors: Kutauro no muridzo , Hugh Tracey
  • Date: 1949
  • Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Bikita f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180538 , vital:43399 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR173-12
  • Description: Although the message drums of central and west Africa are unknown south of the Congo basin, young herd boys have long used a whistling language in which the tone of the phrases they wish to convet are whistled to each other at some distance, often at a safe distance on the other side of a river because much of what they whistle may be humorous or even disrespectful to the stronger or older of the small fry. The first part is a whistled conversation, usually done at some distance apart. The second part is a sample conversation in which the boys say the words that they had whistled to demonstrate the rise and fall of tone. Whistling conversation.
  • Full Text: false
  • Date Issued: 1949

Madumbu nemanyere

- Teachers Training College, Penhalonga, Hugh Tracey

  • Authors: Teachers Training College, Penhalonga , Hugh Tracey
  • Date: 1949
  • Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Mangwende f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180592 , vital:43408 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR170-01
  • Description: One of the many variations of the story of the "Lion on the path." The woman is held up by lions on the wrong path she has taken and is rescued by her relatives village where they enjoy beer and dancing. In the dance song he admonishes her not to argue about his instructions but always take the road that he tells her to take, or one day she will be eaten by lions. Story song.
  • Full Text: false
  • Date Issued: 1949

Masongano

- Chabarwa Musunda Sinyoro, Hugh Tracey

  • Authors: Chabarwa Musunda Sinyoro , Hugh Tracey
  • Date: 1949
  • Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Salisbury f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180167 , vital:43328 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR172-05
  • Description: Of all the multiple souls, or Mashawi, with which each man and woman is blest, the Masangano or Parental souls are the most important. Continuity of the tribe is with most people a central belief and conviction. With the Karanga this is crystalized in the ritual of Masongano and of the Midzimu -the immediate dead. The Masongano are in the path. Mother, let me step over it. You, woman, when you are pregnant you are in the firplace, of that I am sure. When you eat pumpkins you must be uncomfortably full! Fair skinned women are thoughtless. Early in the morning they get up and go to the fireplace outside, you men. Short women are alert, and if I was asked about Zinembgwa, I would say it is a mature girl who cannot make fire. Leave your husband and let us dance. Anything that happens we will account for. What I have said is very little. Not enough to make you leave home! If women were eaten like meat, I would chose the rump steak. The rest of it I would throw to the dogs. Song for Mashawi souls with Njari (Mbira).
  • Full Text: false
  • Date Issued: 1949

Mbiriwiri ya Mondoro

- Manyoni Wanyamande, Hugh Tracey

  • Authors: Manyoni Wanyamande , Hugh Tracey
  • Date: 1949
  • Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Fort Victoria f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180222 , vital:43334 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR172-11
  • Description: The name of this tune 'Mbiriwiri' has been associated with the playing of Mbira type instruments from time immemorial. In this case it is also connected with the spirit concept of the Mondoro or Lion spirit. The singer uses several quotations from older songs such as "Regai ndi baiwa ne banga chena, kufa kwandida." This is to be the prophet Chaminuka's last words when he was surrounded by Ndebele soilders who had come to kill him. They could not harm him and he died by being pierced in the armpit with a sharp knife held by a small boy. "Let me be stabbed by a bright knife, the death of my desiring." Song for Mashawi souls with Njari (Mbira).
  • Full Text: false
  • Date Issued: 1949

Musengu

- Chabarwa Musunda Sinyoro, Hugh Tracey

  • Authors: Chabarwa Musunda Sinyoro , Hugh Tracey
  • Date: 1949
  • Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Salisbury f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180141 , vital:43324 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR172-03
  • Description: The spirit complex which goes by the name Mondoro or Lion spirit is a central belief in the ethics of the Karanga people. This song is here played by a gifted young musician who plays his instruments in the traditional style. Do not argue child, it is forbidden. And you will be sorry for it. Ha, my son-in-law, it makes you feel good (?) The way you dance makes the earth turn over. Song for the Mondoro Spirits with Njari.
  • Full Text: false
  • Date Issued: 1949

Muzazaranda

- Chabarwa Musunda Sinyoro, Hugh Tracey

  • Authors: Chabarwa Musunda Sinyoro , Hugh Tracey
  • Date: 1949
  • Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Salisbury f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180152 , vital:43327 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR172-04
  • Description: Many of the best pieces of music in South Rhodesia are dedicated to the traditional belief in Mashawi souls. Muzazaranda is one of several songs which accompany this interesting ritual. Mashawi 'Souls' are not to be confused with the various spirits. The former are said to live in the chest of the individual, the latter's usual habitation is external. Girls you have looked at me. Do you know me? You boys, my name is "The cutter of gourds". Do you east grandmother's food, you boys. Under the plate there is something suspicious. Chikanga do not leave me when you go hunting. I want to see it hen you catch a 'duiker' (buck). My mother, ... my mother, has turned over. Has turned over the sun the moon! My mother's magic, it pleases me, it follows me wherever I go. That thing of my mother pleases. It came with four hyaenas. The fifth one ran off with the mouse. You, young person! Look, look you young person! Look, look at the girls! To you, you, you young person! To you, Chijaka, you Chijaka, you young person! Song for Mashawi souls with Njari (Mbira).
  • Full Text: false
  • Date Issued: 1949

Ndera wandera

- Duma women and men, Hugh Tracey

  • Authors: Duma women and men , Hugh Tracey
  • Date: 1949
  • Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Salisbury f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180583 , vital:43405 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR173-17
  • Description: The response by the audience is "Sarangano, sarangano. A certain woman who was very found of meat went to fetch water at the stream and saw a crocodile which put its head out of the water and sneezed. "Ah" she said "Bless you! What do you want?" The crocodile said he would like some beer. So they made an arrangement between them ... six fish for siz pots of beer. Story song
  • Full Text: false
  • Date Issued: 1949

Ndinoda kuyenda mbuyawe

- Mashanje Shawa, Hugh Tracey

  • Authors: Mashanje Shawa , Hugh Tracey
  • Date: 1949
  • Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Zaka f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180492 , vital:43394 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR173-07
  • Description: These three short tunes also demonstrate the sound of the friction bow as heard by the player. One end of the palm leaf strip is held across the open mouth and the whole is set in vibration by the rattle stick rubbing across serations in the bow. The mouth harmonies can be heard through the piercing noise of the rattle and the rubbing. Self delectative songs, with Chipendani musical bow and Chimazambi friction bow.
  • Full Text: false
  • Date Issued: 1949

Ndinosara nani (With whom shall I stay)

- Muroiwa Musobenzo, Hugh Tracey

  • Authors: Muroiwa Musobenzo , Hugh Tracey
  • Date: 1949
  • Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Zaka f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180403 , vital:43360 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR173-06
  • Description: a) This tune in 5 time is very well known in the southern part of the country, and has been set to the Njari Mbira as well as the bow and was recorded by H. T. T. in 1933, sixteen years earlier. b) The player strained up his bow for the second tune. Both tunes were recorded with the microphone very near the performer's mouth in order to demonstrate the sound of the Chipedani as heard by the player himself. The mouthed harmonics can be clearly heard. Only those very nearby would in fact hear the bow clearly and the mouth harmonics. Self delectative songs, with Chipendani musical bow and Chimazambi friction bow.
  • Full Text: false
  • Date Issued: 1949
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