Ndamba ndabula bwa muleya (The child says I am the son of my father)
- Tenesi Muntanga and Panisi Mwetwa and group of Tonga men, Hugh Tracey
- Authors: Tenesi Muntanga and Panisi Mwetwa and group of Tonga men , 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/10962/138315 , vital:37622 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR042-19
- Description: There appears to be some connection in this song with the matrilineal outlook of the Tonga people, who inherit through the more certain distaff side. The fact that the child made this remark might indicate that truth may be spoken "out of the mouth of babes", regarding legitimacy. Mendicant's song with leg rattles.
- Full Text: false
- Date Issued: 1957
- Authors: Tenesi Muntanga and Panisi Mwetwa and group of Tonga men , 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/10962/138315 , vital:37622 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR042-19
- Description: There appears to be some connection in this song with the matrilineal outlook of the Tonga people, who inherit through the more certain distaff side. The fact that the child made this remark might indicate that truth may be spoken "out of the mouth of babes", regarding legitimacy. Mendicant's song with leg rattles.
- Full Text: false
- Date Issued: 1957
Muta
- Authors: Louis Mulowa , Hugh Tracey
- Date: 1952
- Subjects: Folk music--Africa , Luba (African people) , Ruund (African people) , Field recordings , Africa, Sub-Saharan , Africa Zambia Mwinilunga f-za
- Language: Lunda , Luba
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/182998 , vital:43901 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR179-15
- Description: When the people were dancing together they were called because it was time to go. They were sorry to break up the party and leave the dance. It is not easy to understand the relationships between the pitch of the instrument and the pitch of the players voice. It appears to be consistant and must therefore bear some relationship in his mind. The scale of his Chisanzhi was:- 424, 380, 344, 304, 280, 266, 232, 212 vs. The tips of the players fingers were constantly moist and sticky and he kept a supply of dry sand beside him to rub on his finger tips before playing. Personal laments, with Chizanzhi Mbira
- Full Text: false
- Date Issued: 1952
- Authors: Louis Mulowa , Hugh Tracey
- Date: 1952
- Subjects: Folk music--Africa , Luba (African people) , Ruund (African people) , Field recordings , Africa, Sub-Saharan , Africa Zambia Mwinilunga f-za
- Language: Lunda , Luba
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/182998 , vital:43901 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR179-15
- Description: When the people were dancing together they were called because it was time to go. They were sorry to break up the party and leave the dance. It is not easy to understand the relationships between the pitch of the instrument and the pitch of the players voice. It appears to be consistant and must therefore bear some relationship in his mind. The scale of his Chisanzhi was:- 424, 380, 344, 304, 280, 266, 232, 212 vs. The tips of the players fingers were constantly moist and sticky and he kept a supply of dry sand beside him to rub on his finger tips before playing. Personal laments, with Chizanzhi Mbira
- Full Text: false
- Date Issued: 1952
Nai puma kuma kuba ngii ndoda
- Authors: Nqwane Mbontyi , Hugh Tracey
- Date: 1957
- Subjects: Folk music--South Africa , Folk songs, Xhosa , Africa South Africa Lusikisiki f-sa
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/136633 , vital:37398 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR032-13
- Description: The performer was quite a humorist in his way, and had a most infectious gaiety, much appreciated by the crown. His name Nqwane Mbonity means "Just like a bean".- He wore a characteristically Mpondo hairdo, the hair cropped close except for the forelock which was allowed to grow long, then plaited into several strings, which were all beeswaxed together into one lock, plastered to the forehead, or reaching down like a small horn to the level of the eyebrows. Tune on the harmonica.
- Full Text: false
- Date Issued: 1957
- Authors: Nqwane Mbontyi , Hugh Tracey
- Date: 1957
- Subjects: Folk music--South Africa , Folk songs, Xhosa , Africa South Africa Lusikisiki f-sa
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/136633 , vital:37398 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR032-13
- Description: The performer was quite a humorist in his way, and had a most infectious gaiety, much appreciated by the crown. His name Nqwane Mbonity means "Just like a bean".- He wore a characteristically Mpondo hairdo, the hair cropped close except for the forelock which was allowed to grow long, then plaited into several strings, which were all beeswaxed together into one lock, plastered to the forehead, or reaching down like a small horn to the level of the eyebrows. Tune on the harmonica.
- Full Text: false
- Date Issued: 1957
Dzoli
- Ebogoma Gabriel, Hugh Tracey
- Authors: Ebogoma Gabriel , Hugh Tracey
- Date: 1952
- Subjects: Folk songs, Mangbetu , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Medje f-cg
- Language: Mangbetu
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/166838 , vital:41410 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0120-11
- Description: A brave little marching tune and song, very simple by utterly African. The tuning of the Neikembe was:- 640, 592, 528, 480, 432, 396, 360, 320, 264, 216 vs. The player was given a "Highly Commended" prize in the 1952 Osborn Awards for the best African musician of the year. Topical song with Neikembe likembe.
- Full Text: false
- Date Issued: 1952
- Authors: Ebogoma Gabriel , Hugh Tracey
- Date: 1952
- Subjects: Folk songs, Mangbetu , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Medje f-cg
- Language: Mangbetu
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/166838 , vital:41410 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0120-11
- Description: A brave little marching tune and song, very simple by utterly African. The tuning of the Neikembe was:- 640, 592, 528, 480, 432, 396, 360, 320, 264, 216 vs. The player was given a "Highly Commended" prize in the 1952 Osborn Awards for the best African musician of the year. Topical song with Neikembe likembe.
- Full Text: false
- Date Issued: 1952
Murumi wakaenda ku Harari (The man who went to Harari (Salsibury))
- Tonga married women, Hugh Tracey
- Authors: Tonga married women , Hugh Tracey
- Date: 1959
- Subjects: Folk music--Africa , Field recordings , Folk music--Zimbabwe , Sena (African people) , Tonga (Zambezi people) , Folk music , Africa Zimbabwe Mkota, Mtoko District, Southern Rhodesia f-rh
- Language: Tonga/Sena
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/179134 , vital:39871 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR085-13
- Description: The story concerns a husband who went off to work at Harari (Salisbury) and spent three years there. But when he came back he only brought to his wife an empty sack or a hat or just paper only, or a mouse skin, or a mole. In factnothing of value at all! Story song.
- Full Text: false
- Date Issued: 1959
- Authors: Tonga married women , Hugh Tracey
- Date: 1959
- Subjects: Folk music--Africa , Field recordings , Folk music--Zimbabwe , Sena (African people) , Tonga (Zambezi people) , Folk music , Africa Zimbabwe Mkota, Mtoko District, Southern Rhodesia f-rh
- Language: Tonga/Sena
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/179134 , vital:39871 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR085-13
- Description: The story concerns a husband who went off to work at Harari (Salisbury) and spent three years there. But when he came back he only brought to his wife an empty sack or a hat or just paper only, or a mouse skin, or a mole. In factnothing of value at all! Story song.
- Full Text: false
- Date Issued: 1959
Gomusanza warira pongo
- Authors: Timoti Sadimbi , 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/10962/138961 , vital:37690 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR046-03
- Description: Played with 4 notes. The notes were roughly hewn pieces of wood laid across the thighs ans played by means of sticks. In this case, the player stood behind the back of the young man on whose thighs the notes were played and beat the notes bending forward over his shoulders. The man acting as xylophone stand sat on a stool with his feet on another stool. Beneath his thighs was a large pot used as simple external resonator. The instrument is played out in the fields when preparing the winter gardens in May. Once the gardens are planted, the xylophone notes are discarded and used as fire wood, new ones being cut each year. The position of the loose notes was changed with each change of tune to facilitate the playing of the item. The pause during the 3rd recording was caused by one of the notes rolling down the boys's thigh and having to be replaced. Self-delectative song with Chikirekore loose note xylophone x 4 notes, pot resonated.
- Full Text: false
- Date Issued: 1957
- Authors: Timoti Sadimbi , 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/10962/138961 , vital:37690 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR046-03
- Description: Played with 4 notes. The notes were roughly hewn pieces of wood laid across the thighs ans played by means of sticks. In this case, the player stood behind the back of the young man on whose thighs the notes were played and beat the notes bending forward over his shoulders. The man acting as xylophone stand sat on a stool with his feet on another stool. Beneath his thighs was a large pot used as simple external resonator. The instrument is played out in the fields when preparing the winter gardens in May. Once the gardens are planted, the xylophone notes are discarded and used as fire wood, new ones being cut each year. The position of the loose notes was changed with each change of tune to facilitate the playing of the item. The pause during the 3rd recording was caused by one of the notes rolling down the boys's thigh and having to be replaced. Self-delectative song with Chikirekore loose note xylophone x 4 notes, pot resonated.
- Full Text: false
- Date Issued: 1957
Wawuyo kwenzani
- Daughter of Chief Mhlolutini and other girls (Performers), Composer not specified, Hugh Tracey
- Authors: Daughter of Chief Mhlolutini and other girls (Performers) , Composer not specified , Hugh Tracey
- Date: 1955
- Subjects: Music--South Africa , Folk music--South Africa , Folk songs, Zulu , Africa South Africa Mahlabatini f-sa
- Language: Zulu
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/133030 , vital:36924 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR010-03
- Description: Four slef-delectative songs with Makhweyana bow
- Full Text: false
- Date Issued: 1955
- Authors: Daughter of Chief Mhlolutini and other girls (Performers) , Composer not specified , Hugh Tracey
- Date: 1955
- Subjects: Music--South Africa , Folk music--South Africa , Folk songs, Zulu , Africa South Africa Mahlabatini f-sa
- Language: Zulu
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/133030 , vital:36924 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR010-03
- Description: Four slef-delectative songs with Makhweyana bow
- Full Text: false
- Date Issued: 1955
Nai puma kuma kuba ngii ndoda
- Authors: Nqwane Mbontyi , Hugh Tracey
- Date: 1957
- Subjects: Folk music--South Africa , Folk songs, Xhosa , Africa South Africa Lusikisiki f-sa
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/136624 , vital:37399 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR032-13
- Description: The performer was quite a humorist in his way, and had a most infectious gaiety, much appreciated by the crown. His name Nqwane Mbonity means "Just like a bean".- He wore a characteristically Mpondo hairdo, the hair cropped close except for the forelock which was allowed to grow long, then plaited into several strings, which were all beeswaxed together into one lock, plastered to the forehead, or reaching down like a small horn to the level of the eyebrows. Tune on the harmonica.
- Full Text: false
- Date Issued: 1957
- Authors: Nqwane Mbontyi , Hugh Tracey
- Date: 1957
- Subjects: Folk music--South Africa , Folk songs, Xhosa , Africa South Africa Lusikisiki f-sa
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/136624 , vital:37399 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR032-13
- Description: The performer was quite a humorist in his way, and had a most infectious gaiety, much appreciated by the crown. His name Nqwane Mbonity means "Just like a bean".- He wore a characteristically Mpondo hairdo, the hair cropped close except for the forelock which was allowed to grow long, then plaited into several strings, which were all beeswaxed together into one lock, plastered to the forehead, or reaching down like a small horn to the level of the eyebrows. Tune on the harmonica.
- Full Text: false
- Date Issued: 1957
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