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Ugone Ngala Maganga

Ugone Ngala Maganga

Ugone Ngala Maganga (Sleep Ngala Maganga)

Bande Lam

Hamba Kulumani

Kusamba ndiko mwasamba

Kusamba Ndiko Mwasamba

Va ka Mavakula

Ba Phina

Glory to God in the Highest

Onse Vader

Healing song

Umushuma

Umushuma

Nthandazi kulibe nsoni (Nthandazi has no pity)

  • Authors: Fani Mzamba and Chewa women , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Songs, Chewa , Songs, Nyanja , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Visanza f-mw
  • Language: Nyanja/Chewa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/156932 , vital:40069 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR092-14
  • Description: Nthandazi is the name of a local labour recruting agency which has recruited her husband for work in Southern Rhodesia. So she was left alone at home until he returned. So she sings. "Nthandazi has no pity. It has taken away my man. At night I cry. All night I mourn." A baby's voice can be heard during the song, slung on its mother's back. Dance song for Chintala women dance.
  • Full Text: false
  • Date Issued: 1958

Mbakulumba

Title not specified

Kakili kanowana

  • Authors: Jimu Zulu , Ledsoni Mwali , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Nsenga (African people) , Ngoni (African people) , Folk songs, Tonga (Zambezi) , Tonga (Zambezi people) , Field recordings , Africa, Sub-Saharan , Africa Zambia Petauke f-za
  • Language: Nsenga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/184455 , vital:44224 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR185-07
  • Description: It was explained that this song is sung "When we go out hunting for five days." In Northern Rhodesia especially, axe blades are often used as an accompaniment to song. This single blade is not however a good example. Men will knock the triangular blades out of their handles and tap them rhythmically. This particularly effective when a number of blades are used each producing its distinctive oitch of note which serves to accentuate the pattern of the crossed rhythm which are tapped out. The choice of harmonic intervals in this song is interesting. Hunting song, with two pieces of metal (1 axe blade)
  • Full Text: false
  • Date Issued: 1957

Heengisela Nzila Ya Masava

  • Authors: Katini, Katinyane , Ngodo of Zavala , Tracey, Hugh
  • Date: 1949-06-08
  • Subjects: Folk music--Africa , Folk songs, Chopi , Field recordings , Africa, Sub-Saharan , Africa Mozambique Quissico, Zavala District f-rh
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/200702 , vital:46268 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT-022 , Research no. CR15
  • Description: Indigenous folk song with timbila xylophones, singing, and intermittent background yodelling, accompanied by rattles. Orchestral dance song for the Chiriri cho Gwitisa movement of the Ngodo of Zavala of 1949.
  • Full Text: false
  • Date Issued: 1949-06-08

Chibudu Intermezzo

  • Authors: Komukomu waSimbi (Leader) , Tracey, Hugh
  • Date: 1949
  • 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/10962/194653 , vital:45474 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR207-10
  • Description: Komukomu started this attractive melody very quickly while a few members of the orchestra interpolated occasional notes. When we recorded this item they played rather more loudly than before and lost something of the charm of this solo performance. As the road to Regulo Banguza's village was at the time impassable, Komukomu and his musicians walked over to Mavila's village with their instruments for this recording, a distance of about six miles. The drift across the river was temporarily out of use on account of recent floods. Movement from the dance, with Timbila xylophones and in the Ngeniso movement with drum (single headed closed goblet) with 4 players (-14.52102-).
  • Full Text: false
  • Date Issued: 1949
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