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Chansi cha nzige

  • Authors: Pembe Selemani and Zaramo young men , Hugh Tracey
  • Date: 1950
  • Subjects: Nyakyusa (African people) , Zaramo (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Dar-es-Salaam f-tz
  • Language: Nyakyusa , Zaramo
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/175399 , vital:42572 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR158-14
  • Description: "Locusts come in groups like the seven stars (the Pleiades). If you want to taste sugar cane you should eat it." Each player playes one flute only, except the treble who holds 3 loose pipes. The embouchure of the flutes is cut a double angle, the shorter side being pressed to the lower lip. The players stand in a circle and follow each others pipes after the fashion of bell ringers. The tuning was as follows:- 584, 520, 440, 392, 336, 292. Giving a pentatonic scale. The total range was just over two octaves. Pipe dance, with Viyanzi verticle flute, 2 fiction sticks (-12.61-) and tin rattles (-12.54-).
  • Full Text: false
  • Date Issued: 1950

Chaupele Mpenzi

Hijazai Bashraf

  • Authors: Egyptian musical club , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Dar-es-Salaam f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179514 , vital:43073 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR169-14
  • Description: Taarab is the name given to an air after the Arab style composed and played Swahili musicians. The name of the club does not reflect its origin which is entirely local and composed of Swahili men all living in Dar-es-Salaam. The Arab 'Oud' is locally called 'Udi'. Instrumental Air, with 1 Oud (Arabic guitar), 3 violins, 1 Mandoline, 1 Kayamba flat grass rattle, 1 earthern ware drum, Damba, 1 Duff tambourine.
  • Full Text: false
  • Date Issued: 1950

Hongahonga lele

  • Authors: Pembe Selemani and Zaramo boys , Hugh Tracey
  • Date: 1950
  • Subjects: Nyakyusa (African people) , Zaramo (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Dar-es-Salaam f-tz
  • Language: Nyakyusa , Zaramo
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/175410 , vital:42573 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR158-15
  • Description: The players start to play begining with the pipe 3rd from the lowest. Each piper above then takes his rhythm from the next man below. If one fails to get started he holds up all the others above. The leader then comes along and gets his rhythm for him and his companions can then take up the rhythm until the treble player at last joins in. Set of 13 pipes. The tuning of this set was as follows:- 584, 520, 440, 392, 336, 292. Giving a pentatonic scale. The total range was just over two octaves. Mbeta pipe dance, with Viyanzi vertical flutes, 2 friction sticks (-12.61-) and tin rattles (-12.54-).
  • Full Text: false
  • Date Issued: 1950

Kamwezi sensa muyaya

  • 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

Kwaheri naja majumbani

  • 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/10962/173029 , vital:42314 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR148-12
  • Description: "Goodbye, I am going home to see my love who will cook plenty for me." Nyahinga, they said, is known to be very good singer in Nyamwezi country. Idi Selemani, the leader 'lines' the verses to be sung by the chorus of his friends. The soloist, Idi is a well known and much beloved comedian in his own society of Nyamwezi people living in Dar-es-Salaam and is a joy to watch. His antics and feigned anger are masterly acting. The singer starts the third song with the familiar cry of the 2nd King's African Rifles, "Seken-Seken, K.A.R. Namba wantu. Humorous song with clapping.
  • Full Text: false
  • Date Issued: 1950

Lalua Deleva

  • 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/10962/173038 , vital:42315 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR148-13
  • Description: "Whenever I sing my people weep, my songs must be very good. My love you will find me on the dancing ground kicking up a lot of dust, dancing." Nyahinga, they said, is known to be very good singer in Nyamwezi country. Idi Selemani, the leader 'lines' the verses to be sung by the chorus of his friends. The soloist, Idi is a well known and much beloved comedian in his own society of Nyamwezi people living in Dar-es-Salaam and is a joy to watch. His antics and feigned anger are masterly acting. The singer starts the third song with the familiar cry of the 2nd King's African Rifles, "Seken-Seken, K.A.R. Namba wantu. Humorous song with clapping.
  • Full Text: false
  • Date Issued: 1950

Mahaba, jamani, yananiatile

  • Authors: Egyptian musical club , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Dar-es-Salaam f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179523 , vital:43074 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR169-15
  • Description: Abbas Haji was the singer of this song composed by the gifted player Bom Amberon. "I am distrought with love, I can neither see by day nor sleep by night. In whom shall I confide my two years' longing. Who will tell me how my heart might find repose. Love song, with 2 Udi, 1 Cello, 1 mandoline, 1 Dambak, 1 Kayamba rattle, and 3 violas.
  • Full Text: false
  • Date Issued: 1950

Mitambu yalagala kumchuzi Part I

  • Authors: Mashaka Kawambwa, and Kitamba Kilaka with Zaramo men , Hugh Tracey
  • Date: 1950
  • Subjects: Nyakyusa (African people) , Zaramo (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Dar-es-Salaam f-tz
  • Language: Nyakyusa , Zaramo
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/175430 , vital:42576 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR158-17
  • Description: 1 x - 14.52104 -; 4 x - 14.25103 -; 4 x - 14.02101 -. This set of 9 drums was very carefully tuned before playing particularly the four small goblet drums which were played by one man and were tuned approximately to 840, 672, 568, 464 vs. Between items the drums would be taken to a fire, wetted and returned by heat, but naturally the tuning can only be approximately correct. If the above tuning was correct the intervals would be approximately 386, 291, 350 cents or about a 7th in all. The drums were made from wood of the Mukongo tree. Madogoli dance song for men and women, with 5 Goblet pegged and footed drums, 4 cylindrical pegged drums and tin rattles (-12.54-).
  • Full Text: false
  • Date Issued: 1950

Mitambu yalagala kumchuzi Part II

  • Authors: Mashaka Kawambwa, and Kitamba Kilaka with Zaramo men , Hugh Tracey
  • Date: 1950
  • Subjects: Nyakyusa (African people) , Zaramo (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Dar-es-Salaam f-tz
  • Language: Nyakyusa , Zaramo
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/175435 , vital:42577 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR158-18
  • Description: In this recording the rhythm of the four small goblet drums set against the single bass drum can be clearly distinguished. 1 x - 14.52104 -; 4 x - 14.25103 -; 4 x - 14.02101 -. This set of 9 drums was very carefully tuned before playing particularly the four small goblet drums which were played by one man and were tuned approximately to 840, 672, 568, 464 vs. Between items the drums would be taken to a fire, wetted and returned by heat, but naturally the tuning can only be approximately correct. If the above tuning was correct the intervals would be approximately 386, 291, 350 cents or about a 7th in all. The drums were made from wood of the Mukongo tree. Madogoli dance song for men and women, with 5 Goblet pegged and footed drums, 4 cylindrical pegged drums and tin rattles (-12.54-).
  • Full Text: false
  • Date Issued: 1950

Mlakanile malanga

  • 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/10962/173065 , vital:42318 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR148-16
  • Description: "Although you frighten me with your stick, I will fight you when you are drunk." 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, unaccompanied.
  • Full Text: false
  • Date Issued: 1950

Mshatulo kwenda ovyo

  • Authors: Mashaka Kawambwa, and Kitamba Kilaka with Zaramo men , Hugh Tracey
  • Date: 1950
  • Subjects: Nyakyusa (African people) , Zaramo (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Dar-es-Salaam f-tz
  • Language: Nyakyusa , Zaramo
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/175448 , vital:42578 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR158-19
  • Description: The clear sound of these drums suggests metal rather than membrane tone. The membranes had been tightened almost to breaking point over the fire. A tape fault can be heard near the beginning of this item. 1 x - 14.52104 -; 4 x - 14.25103 -; 4 x - 14.02101 -. This set of 9 drums was very carefully tuned before playing particularly the four small goblet drums which were played by one man and were tuned approximately to 840, 672, 568, 464 vs. Between items the drums would be taken to a fire, wetted and returned by heat, but naturally the tuning can only be approximately correct. If the above tuning was correct the intervals would be approximately 386, 291, 350 cents or about a 7th in all. The drums were made from wood of the Mukongo tree. Madogoli dance song for men and women, with 5 Goblet pegged and footed drums, 4 cylindrical pegged drums and tin rattles (-12.54-).
  • Full Text: false
  • Date Issued: 1950

Mwanza

  • 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/10962/173074 , vital:42319 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR148-17
  • Description: "Masunga is a such a lovely girl. I would follow her right up to Mwanza if she left 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

Ndikakowa wanyambo

  • Authors: Tatu Binti Ali with Nyamwezi 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 Dar-es-Salaam f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173291 , vital:42354 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR150-06
  • Description: "I will go and marry somewhere else, because all the girls think I am not faithful." The singers are all Nyamwezi who have come down to the East coast from the interior near Tabora and have now settled permanently at the coast in or around Dar-es-Salaam. These Nyamwezi singers of Dar-es-Salaam have an attractive way of singing their songs repeating each stanza after the soloist. This style may well have been copied from the Arabs or Swahili. Tatu Binti Ali is the young wife of Idi Selemani the organiser of the group. Hiyari ya moyo dance song for men and women..
  • Full Text: false
  • Date Issued: 1950

Pemba ina siri

Sameheni baba

  • Authors: Nyamugumi Mihabo with Nyamwezi 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 Dar-es-Salaam f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173300 , vital:42355 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR150-07
  • Description: "Excuse me, father, I want to make it clear to Juma that he must not play with me, lest he die." The singers are all Nyamwezi who have come down to the East coast from the interior near Tabora and have now settled permanently at the coast in or around Dar-es-Salaam. These Nyamwezi singers of Dar-es-Salaam have an attractive way of singing their songs repeating each stanza after the soloist. This style may well have been copied from the Arabs or Swahili. Tatu Binti Ali is the young wife of Idi Selemani the organiser of the group. Hiyari ya moyo dance song for men and women..
  • Full Text: false
  • Date Issued: 1950

Swaluu-Alah maachini-l-imaan I

  • Authors: Watoto wa Madrasa el-Hasanain , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Dar-es-Salaam f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179478 , vital:43069 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR169-11
  • Description: All items on this disc are included as example of the African adoptation of Arabic styles of music on the coast. This choice is composed of 12 young Swahili boys with a man soloist (el-ustadh) and three teachers playing the "duff" tambourines. Arabic and the lingua franca, Swahili, are part of the inheritance of all the coast dwellers and on the islands of Zanzibar and Pemba. It is interesting to note how easily these African born Swahili children appear to adopt Arabic music with far greater facility that the efforts of most African children to sing European songs Kasida, Moslem Religious chants, with 3 Duff frame drums (tambourines).
  • Full Text: false
  • Date Issued: 1950

Swaluu-Alah maachini-l-imaan II

  • Authors: Watoto wa Madrasa el-Hasanain , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Dar-es-Salaam f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179491 , vital:43070 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR169-12
  • Description: All items on this disc are included as example of the African adoptation of Arabic styles of music on the coast. This choice is composed of 12 young Swahili boys with a man soloist (el-ustadh) and three teachers playing the "duff" tambourines. Arabic and the lingua franca, Swahili, are part of the inheritance of all the coast dwellers and on the islands of Zanzibar and Pemba. It is interesting to note how easily these African born Swahili children appear to adopt Arabic music with far greater facility that the efforts of most African children to sing European songs Kasida, Moslem Religious chants, with 3 Duff frame drums (tambourines).
  • Full Text: false
  • Date Issued: 1950

Swaluu-Alah manyaana bilbay yinatil

  • Authors: Watoto wa Madrasa el-Hasanain , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Dar-es-Salaam f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179496 , vital:43071 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR169-13
  • Description: All items on this disc are included as example of the African adoptation of Arabic styles of music on the coast. This choice is composed of 12 young Swahili boys with a man soloist (el-ustadh) and three teachers playing the "duff" tambourines. Arabic and the lingua franca, Swahili, are part of the inheritance of all the coast dwellers and on the islands of Zanzibar and Pemba. It is interesting to note how easily these African born Swahili children appear to adopt Arabic music with far greater facility that the efforts of most African children to sing European songs Kasida, Moslem Religious chants, with 3 Duff frame drums (tambourines).
  • Full Text: false
  • Date Issued: 1950

Tula bongela heya (We are talking, yes!)

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