Showing items 7081 - 7100 of 24254

Your selections:

Damunda

Damunda

Dar-es-Salaam usiende

Daula mabanja nangu Mpezeni

  • Authors: Blaisoni Jere , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Songs, Tumbuka , Tumbuka (African people) , Field recordings , Africa, Sub-Saharan , Africa Malawi Mzimba f-mw
  • Language: Tumbuka
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/185507 , vital:44392 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR189-14
  • Description: Mpezeni was a famous chief of the Ngoni in the Fort Jameson district of Northern Rhodesia about 200 miles south of this village. He was defeated by the British. "The conqueror of all the chiefs is Mpezeni. My child Dangala, let us go." The tuning:- 280, 260, 232, 176, 156, 140 vs. The tuning of this Bango is of doubtful accuracy. Self delecatative song with Bango board zither, (7 notes)
  • Full Text: false
  • Date Issued: 1950

Daula mabanja nangu Mpezeni

Dawa mziwanda kala kula upata afia

Dawa mziwanda kula, kula upate afia

Dawa mziwanda kula,kula upata afia

Dawa mziwanda kula,kula upata afia

Dendera Jikwa

Dezi kanambia

  • Authors: Ramadhani Fataki (Udi), Saidi Salum Nana (Mandoline) and Tatu Binti Jama , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwanza f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179650 , vital:43125 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR170-08
  • Description: The Arab influence is still strong up country particularly along the old Arab trading routes. All the seven items on this side of the disc represent an evening's entertainment spent with a Mohamedan Swahili family in Tabora whose taste in music leans towrds the Arab side of the family than the African. Two close friends who frequently play together in the evenings recorded these items. The wife of one of them provides some of the solos. They are typical, no doubt, of a musical evening at home by Swahili players anywhere in East Africa. All the items were recorded in the small sitting room of their Swahili home. The men singers sat around a table in the light of a parafin lamp and their veiled wwomefolk sat on mats in the adjoining rooms, watching through the doorways. Topical Taarab song, with 1 Udi, 1 Mandoline and 1 Duff tambourine drum (-14.91-).
  • Full Text: false
  • Date Issued: 1950

Dezi kanambia

  • Authors: Ramadhani Fataki (Udi), Saidi Salum Nana (Mandoline) and Tatu Binti Jama , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwanza f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179622 , vital:43126 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR170-08
  • Description: The Arab influence is still strong up country particularly along the old Arab trading routes. All the seven items on this side of the disc represent an evening's entertainment spent with a Mohamedan Swahili family in Tabora whose taste in music leans towrds the Arab side of the family than the African. Two close friends who frequently play together in the evenings recorded these items. The wife of one of them provides some of the solos. They are typical, no doubt, of a musical evening at home by Swahili players anywhere in East Africa. All the items were recorded in the small sitting room of their Swahili home. The men singers sat around a table in the light of a parafin lamp and their veiled wwomefolk sat on mats in the adjoining rooms, watching through the doorways. Topical Taarab song, with 1 Udi, 1 Mandoline and 1 Duff tambourine drum (-14.91-).
  • Full Text: false
  • Date Issued: 1950

Dhi dalau

Dibhoro wananaero

Dikitami tiyakuyia

Dikitari Tiyakuyia

  • Authors: Felisiano Karungula with Haya boys , Hugh Tracey
  • Date: 1950
  • Subjects: Haya (African people) , Nyoro (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Bukoba f-tz
  • Language: Nyoro , Haya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/172622 , vital:42230 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR146-14
  • Description: "The hospitals is a good place and should not be burnt down. Why, I myself was once treated there." A sentiment which could be echoed through many regions of Africa where rioters are notorious for burning down hospitals, clinics and schools. Ruyaigo dance song for boys and girls, with conical laced drum, 1 gourd rattle (-12.54-) and clapping (-12.03-).
  • Full Text: false
  • Date Issued: 1950

Dikitari tiyakuyia

Diyele Wane

Diyele wane

  • Authors: Japhiti Zimba , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Songs, Tumbuka , Tumbuka (African people) , Field recordings , Africa, Sub-Saharan , Africa Malawi Mzimba f-mw
  • Language: Tumbuka
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/185114 , vital:44329 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR188-08
  • Description: The Kalimba, they say, is a comparatively new to this district and people. They have recently begun to learn it from the Nsenga at Fort Jameson where this player had gone to work on a Europen farm there in 1922. "You always call me 'dear' with your mouth, but what kind of 'dear' is this if you do not let me sleep with you?" This is a pleasnt little melody set against an appropriate accompaniment. The player's old voice does not do his own melody credit, as so often happens among folk singers, and it should be performed by a younger person to bring out its virtue. Love song with Kalimba Mbira (nine notes)
  • Full Text: false
  • Date Issued: 1950

Dongo Mothi

  • Authors: Johnnie Murithe Wambu and Kibunga Waita , Hugh Tracey
  • Date: 1950
  • Subjects: Folk songs, Kikuyu , Kikuyu (African people) , Songs, Kikuyu--Kenya , Folk music , Field recordings , Africa, Sub-Saharan , Africa Kenya Embu f-ke
  • Language: Kikuyu
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/175630 , vital:42601 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR159-17
  • Description: The 'struck iron' was an old starter ring from the fly wheel of a car. It is necessary to have a circular or 'S' shaped piece of metal for convnient playing of the double beat. The performer called it 'Kengere' or 'Beru' bell. The sweepers in Nairobi, they say, always come from Embu. Kibunga Waita, the iron player, was no exception. Eleswhere in Africa certain tribes tend to adopt one occupation exclusively. After hearing a few Kikuyu songs to the accompaniment of the iron and accordion, the listener who is not case hardened to the pulse may experience a singing in the ears for several hours afterwards. Listening to this kind of Kikuyu song is more a feat of endurance than an aesthetic pleasure. Mamboko dance song with accordian and struck iron (-12.161-).
  • Full Text: false
  • Date Issued: 1950
  • Disclaimer
  • Privacy
  • Copyright
  • Contact