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Zangeninkomo

  • Authors: Group of 8 young Swazi men , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Folk songs, Swazi , Folk music , Africa Eswatini Emkhuzweni, Northern District f-sq
  • Language: Swati
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/153055 , vital:39377 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR073-14
  • Description: The singers, who were sitting on the ground, all bent their heads on their folded arms while singing this song. It is the first opening movement of this dance before actully dancing. The dance itself is a variation of the Ndlamu stamping dance found all through Zululand and as far south as Thabankulu in the Transkei. "Zangeni nkomo zethu mabedlana zangene khaya wozangena" Youn men's dance. Isibacha.
  • Full Text: false
  • Date Issued: 1958

Zamapembe sesiyandinda

Zamani mwaya

  • Authors: Chandarwa Waya with Giryama men , Hugh Tracey
  • Date: 1950
  • Subjects: Giryama (African people) , Folk music--Kenya , Folk music , Field recordings , Africa, Sub-Saharan , Africa Kenya Malindi f-ke
  • Language: Giryama
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/176656 , vital:42737 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR163-01
  • Description: This Msego dance started with the sound of the horn, followed by the leader of the group who sings the first verse. This is repeated by the dancers whistling the melody twice over after which the dance proper begins with rattles. Msego mourning dance song with Kayamba raft rattles, a gourd horn (-11.121-) and whistling.
  • Full Text: false
  • Date Issued: 1950

Zali mbogo zali nkanga

  • Authors: Yosamu Kanagwa and Toro men , Hugh Tracey
  • Date: 1950
  • Subjects: Music--Uganda , Nyoro (African people) , Nyankole (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Kamukuzi f-ug
  • Language: Nyoro , Nyankole
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/170272 , vital:41876 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0135-07
  • Description: This praise, which both begins and ends with song, are frequently recited by men at parties. The subject of their adulation may be their host, their cattle or any subject gratifying their senses. Adulation of elders is part of the sycophantic social system common to many tribes and especially cattle owners. The practise of interspersing spoken praises between song is also found among the Sotho of Basutoland. The word Engabo means literally a brave man and these praises were originally intended to praise fighting men. Nowadays woth no fighting to be done the praises have been extended to any gratification and particularly of the 'Pombe' banana beer. Engabo praise, with conical drum. laced, single, played with hands and clapping.
  • Full Text: false
  • Date Issued: 1950

Zakeyo mwana binzi (Before she is old enough)

Zakanaka musikana e yeye (It is all right, girl)

  • Authors: Jerevani Siakuteka , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Tonga (Zambezi people) , Folk songs, Tonga (Zambezi) , Music--Zambia , Africa Zambia Gwembe f-za
  • Language: Tonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/139010 , vital:37695 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR046-08
  • Description: The onlookers occassionally make comments especially if they like the song. "Chabota" - good or "Play well, so that the children will listen to you." And, "I will sit all day and smoke while you play," Chief Chipepo made this last remark. The chief in these parts is addressed as "Mwami" , as in Ruanda-Urundi. Tuning of the instrument as follows: 384, 352, 316, 288, 256, 232, 208, 192 vps. Self-delectative song with Deza mbira, board and external resonator.
  • Full Text: false
  • Date Issued: 1957

Zakaliya uphume Nkelebeni

  • Authors: Losina Dlamini , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Folk songs, Swazi , Folk music , Africa Eswatini Emkhuzweni, Northern Distict f-sq
  • Language: Swati
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/152899 , vital:39354 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR072-16
  • Description: Two finger technique only. This flute was made on the spot froma pawpaw stalk. 13" flute, end blown out of the side of the mouth, two finger holes and stopped at the end. Second tune was overblown to get an octave higher. The flute was cut to shape with a pocket knife, the two holes being cut and then shapped with a piece of stick. The other (mouth) end was reduced to lenght until the finger hole notes sounded correct. Flute tunes with Umstshingozi end blown transverse flute.
  • Full Text: false
  • Date Issued: 1958

Zakaliya uphume Nkelebeni

  • Authors: Losina Dlamini , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Folk songs, Swazi , Folk music , Africa Eswatini Emkhuzweni, Northern Distict f-sq
  • Language: Swati
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/152892 , vital:39353 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR072-16
  • Description: Two finger technique only. This flute was made on the spot froma pawpaw stalk. 13" flute, end blown out of the side of the mouth, two finger holes and stopped at the end. Second tune was overblown to get an octave higher. The flute was cut to shape with a pocket knife, the two holes being cut and then shapped with a piece of stick. The other (mouth) end was reduced to lenght until the finger hole notes sounded correct. Flute tunes with Umstshingozi end blown transverse flute.
  • Full Text: false
  • Date Issued: 1958

Zainyanyatoko

  • Authors: Muchuru Zhou , 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/10962/180520 , vital:43397 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR173-10
  • Description: The story of a woman who was driven away from the village as they said she was a 'witch' and her husband too rude. The common name for a person whose behaviour or presence is a cause of offence to the others in the community was a 'witch' as used in the mediaeval sense. Story song.
  • Full Text: false
  • Date Issued: 1949

Zaina wasala madembe (Those that are left behind)

Zagambayo mabilo mabilo (Run, Zagambayo, run)

Zadoyo pule badialo fulo

  • Authors: Iyenga Francois and friend Eleo , Hugh Tracey
  • Date: 1952
  • Subjects: Folk songs, Zande , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Bondo f-cg
  • Language: Zande/Bandiya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/167431 , vital:41479 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0122-12
  • Description: The Zande are a Sudanic people and are found along the north eastern border of the Congo and Southern Sudan. They are an active military tribe with great influence and power in the whole of this area, their young men being noted for their bravery. This tune set to a topical song is in the common Zande dance measure and a Zande audience hearing it would be likely to start their attractive dance action in spite of the accompanying instrument being a Likembe and not a xylophone which is commonly used for dancing on account of its greater volume of sound. The player tuned up his instrument begining with the tone centre 440 vs. The order of notes from left to right was:- 880, 648, 488, 360, 244, 220, 180, 324, 440, 584, 720, 292 vs. Topical song with 2 Ekembe, 12 note Likembe Mbiras.
  • Full Text: false
  • Date Issued: 1952

Yuno mwazonga

  • Authors: Lukas Mbaru with Nika boys , Hugh Tracey
  • Date: 1950
  • Subjects: Mijikenda (African people) , Nandi (African people) , Folk music--Kenya , Folk music , Field recordings , Africa, Sub-Saharan , Africa Kenya Kilifi f-ke
  • Language: Nandi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/176707 , vital:42742 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR163-06
  • Description: A man's father had died and he offered a reward to anyone who could tell him who had killed his father. An attractive unison song in which the school boys have used their rules as castanets. European influence in the imabic melody is suspected. The song has one verse only, repeated several times. Raba dance song for boys and girls in two lines, with Kayamba (scholl rulers) struck together as castanets.
  • Full Text: false
  • Date Issued: 1950

Yoro riboga

Yombela (Clap hands)

  • Authors: Jury Mpelho , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Folk songs, Xhosa , Africa South Africa Grahamstown f-sa
  • Language: Xhosa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/135916 , vital:37311 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR027-04
  • Description: "Over on the other side of the Kei River, the people are losing all their cattle on account of this "yombela" business.- We must try and stop it. The explanation behind these words is that the people who consult a diviner are always asked to slaughter one of their cattle. They consult diviners frequently and thus become gradually improverished.- The word "yombela" or hand clapping alludes to the custom of clapping at the command of the diviner when he tells a man's fortune. Diviner = Igqiya. (Sangoma in Zulu). Town dance with small band including a piano, saxaphone, trumpet, guitar and drum.
  • Full Text: false
  • Date Issued: 1957

Yohane ulembe kalata

Yo baba ngonile

Yizane Mbiza (Bring the pot)

  • Authors: Young boys , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Folk music--South Africa , Field recordings , Xhosa (African people) , Africa South Africa Peddie f-sa
  • Language: Xhosa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/150660 , vital:38994 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR060-12
  • Description: This Mbayizelo or Impezu dance is not performed for any special occasion but just for fun. One young boy plays the repeated melody or the mouth organ, while the others do a kind of prancing dance while making a rhythmic roaring noise in their throats. Mbayizelo dance song, with mouth organ (harmonica).
  • Full Text: false
  • Date Issued: 1957

Yinina ke we Sponono

Yini we ngane Kabaka

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