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Zuwa woye

- Manyika Highlanders (group of singers at St. Augustine's Mission, Penhalonga), Hugh Tracey

Zuwa Woye

- Manyika Highlanders, Composer unknown, Tracey, Hugh

  • Authors: Manyika Highlanders , Composer unknown , Tracey, Hugh
  • Date: 1951-06-21
  • Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe Penhalonga f-rh
  • Language: Manyika
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/214248 , vital:47929 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT263-E36.3 , Research no. E2R3
  • Description: Indigenous folk threshing song with singing accompanied by the sound feet stomping on the ground.
  • Full Text: false
  • Date Issued: 1951-06-21

Zuwa rawira mukaiwe (The sun is setting, wake up)

- Muchuru Zhou with a man and woman, Hugh Tracey

  • Authors: Muchuru Zhou with a man and woman , 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/10962/180501 , vital:43395 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR173-08
  • Description: There was, once upon a time a baboon who was walking in amongst the hills and found plenty of fruit. Matamba ('Kaffir oranges', strychnos spinosa). He ate a great many and went to sleep on the path, full to the brim. Presently an old woman who was collecting firewood came along and said "My child, why are you sleeping on the path like this?" He did not reply. So she said, "Wake up, the sun is setting." He said, "I don't want to, I am full." Then he said "Come here and listen to my song". So she came near and the baboon sang his song. "The sun is setting, wake up, wake up! Ha-hey-ha, old woman! She makes me laugh. I have discovered this hill here. Which is full of fruit, so I go here and there, eating my fill and laughing." Now when he had finished singing, he woke up, got up and followed the old woman all the way to her home. Son story.
  • Full Text: false
  • Date Issued: 1949

Zuwa na mwezi

- Yelele Lungu, Nsenga women, Hugh Tracey

  • Authors: Yelele Lungu , Nsenga women , Hugh Tracey
  • Date: 1949
  • 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/10962/184464 , vital:44225 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR185-08
  • Description: The sun and the moon are contrasted as lovers. The son returns to his mother if he is unsucceful in love and the mother sees in the hooting of the owls the omen of death to come. The player Yelele Lungu is one of two blind muscians in the Petauke district. Blind from birth he has developed an unusual degree of petic imagery. He had bever seen either the sun or the moon and his poetry consequently reflected a blind man's conception of natural phenomena. Unfortunately owing to technical difficulties both his recordings on this disc are poor, but his poetry warranted their inclusion. Love song, with Kalimba of 10 notes
  • Full Text: false
  • Date Issued: 1949

Zumina unditole ulibama (If toy don't love me, send me back to my mother)

- 2 Tonga women and 2 young girls, Hugh Tracey

Zumina unditole ulibama

- Tonga women and girls, Composer not specified, Tracey, Hugh

  • Authors: Tonga women and girls , Composer not specified , Tracey, Hugh
  • Date: 1957-06-22
  • Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Zambia Zambezi Valley f-za
  • Language: Tonga (Zambia)
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/233575 , vital:50104 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT454-L75 , Research no. L2E3a
  • Description: A pounding song accompanied by the sound of pestle and mortar, with the sound of a womens bracelet while pounding.
  • Full Text: false
  • Date Issued: 1957-06-22

Zuma na mwezi

- Lungu, Yelele, Nsenga women, Tracey, Hugh

Zore III

- Five GiTonga men and 13 women, Tracey, Hugh

  • Authors: Five GiTonga men and 13 women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Tonga language (Inhambane) , Folk dance music , Field recordings , Africa, Sub-Saharan , Africa Mozambique Regulo Nhabanda f-mz
  • Language: Gitonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189589 , vital:44861 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-03
  • Description: 2 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground (beaters) pegged open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horn. The 2 Kisusu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The main dance of the GiTonga appears to be a kind of violent dance du ventre in which the hips and belly are rolled and shaken. The women and men coming out in pairs to dance in the centre of the ring. In both Zore II and III the order of appearance of the instrument is:- First Kirisu drums, then the 2 Chohodwani drums, then the Shikulu and then the corrugated iron Tsakara. The GiTonga dances are among the most deafening in Africa. The volume of sound within the circle of spectators, drummers and dancers must approach. If not exceed, the threshold of pain in the ears. Dance with 5 drums (1 struck by hand, 4 with beaters), rattles, wooden clappers, and corrugated iron strip.
  • Full Text: false
  • Date Issued: 1963

Zore II

- Five GiTonga men and 13 women, Tracey, Hugh

  • Authors: Five GiTonga men and 13 women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Tonga language (Inhambane) , Folk dance music , Field recordings , Africa, Sub-Saharan , Africa Mozambique Regulo Nhabanda f-mz
  • Language: Gitonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189568 , vital:44859 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-02
  • Description: 2 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground (beaters) pegged open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horn. The 2 Kisusu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The main dance of the GiTonga appears to be a kind of violent dance du ventre in which the hips and belly are rolled and shaken. The women and men coming out in pairs to dance in the centre of the ring. In both Zore II and III the order of appearance of the instrument is:- First Kirisu drums, then the 2 Chohodwani drums, then the Shikulu and then the corrugated iron Tsakara. The GiTonga dances are among the most deafening in Africa. The volume of sound within the circle of spectators, drummers and dancers must approach. If not exceed, the threshold of pain in the ears. Dance with 5 drums (1 struck by hand, 4 with beaters), rattles, wooden clappers, and corrugated iron strip.
  • Full Text: false
  • Date Issued: 1963

Zore I

- Five GiTonga men and 13 women, Tracey, Hugh

  • Authors: Five GiTonga men and 13 women , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Tonga language (Inhambane) , Folk dance music , Field recordings , Africa, Sub-Saharan , Africa Mozambique Regulo Nhabanda f-mz
  • Language: Gitonga
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/189563 , vital:44858 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR196-01
  • Description: 2 Chohodwani drums, hanging on poles (beaters) pegged, closed. 1 Shikulu drum. Big drum on ground, hand beaten, wine barrel. 2 Kirisu drums on ground (beaters) pegged open. 1 Tsakara corrugated iron strip on supports, 6 ft. long. 1 Punzu sable antelope horn. The 2 Kisusu drums were played by one man who beat an irregular rhythm against the three other drum's regular rhythm. The clappers were carefully made of sawn planks, blacked along the edges. The main dance of the GiTonga appears to be a kind of violent dance du ventre in which the hips and belly are rolled and shaken. The women and men coming out in pairs to dance in the centre of the ring. In both Zore II and III the order of appearance of the instrument is:- First Kirisu drums, then the 2 Chohodwani drums, then the Shikulu and then the corrugated iron Tsakara. The GiTonga dances are among the most deafening in Africa. The volume of sound within the circle of spectators, drummers and dancers must approach. If not exceed, the threshold of pain in the ears. Dance with 5 drums (1 struck by hand, 4 with beaters), rattles, wooden clappers, and corrugated iron strip
  • Full Text: false
  • Date Issued: 1963

Zondelele (Come and mourn with me)

- Simakwenda, Hugh Tracey

Zondelele

- Kwenda, Sinia, Composer not specified, Tracey, Hugh

Zokudaro (Just like that)

- Composer not specified, Hugh Tracey

  • Authors: Composer not specified , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Music--Mozambique , Africa Mozambique Espungabera f-mz
  • Language: Ndau
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/136317 , vital:37361 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR029-14
  • Description: "Just like that is what I do not like. When you cook you do not sit down properly but only squat. The white people here are from England. See-you are listening to me like a snake, my brothers, Why are you so black like a crow. Why are you so red like a "Jekwaya"? Look Franzi has had a child, the child Mujarai. I am Franzi-son of Maunze Mwiambo. I am from Chipumgumbira (Sipungabera. lit. the small forest of rock rabbits) Portuguese territory. We are happy at Kabira, here working together with the Italians. Sorry for you, friends who stay at home. Don't take "Joni" (a labour recruiting organisation) in order to come here. (i.e. come on your own). The tune is a variation of a well-known traditional tune in S. Rhodesia. Self-delectative song with Mbira dza waNdau.
  • Full Text: false
  • Date Issued: 1957

Zokudaro

- Maunze, Franzi, Composer not specified, Tracey, Hugh

Ziriya yapasharo

- Manyoni Zhou and Simoni Mashoko Shawa, Hugh Tracey

  • Authors: Manyoni Zhou and Simoni Mashoko Shawa , Hugh Tracey
  • Date: 1949
  • Subjects: Folk music--Africa , Folk music--Zimbabwe , Shona (African people) , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe Chilimanzi f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/181444 , vital:43734 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR175-04
  • Description: It is usual for semi-professional entertainers of this kind to keep up running patter of amusing remarks and scandal to the traditional airs played on the Njari in the background. Like many other players of this instrument Manyoni Zhou calls himself "The player of Mbira". The two musicians come from neighbouring districts, Zhou from Chilimanzi and Mashoko from Buhera, the district in which the Njari originated about 1760 A.D. Topical song with two Njari Mbira, one with 33 notes and one with 31 notes.
  • Full Text: false
  • Date Issued: 1949

Ziriya (The stone trap)

- Saimoni Mashoka, Hugh Tracey

Ziphin'izizwe makhosikazi

- Composer Not Specified, Xhosa Ladies, Dargie, Dave

Zintsimbi zam

- Dargie, Dave, Ngqoko Boys

  • Authors: Dargie, Dave , Ngqoko Boys
  • Date: 1981-10-28
  • Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa South Africa Lumko f-sa
  • Language: Xhosa
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/258915 , vital:53033 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DD025-17
  • Description: Church music, church hyms, Choral music.
  • Full Text: false
  • Date Issued: 1981-10-28

Zintombi zamachona

- Joseph Makuya, Tracey, Andrew T N

Zindunduma

- Champions, Zulu, Composer not specified, Tracey, Hugh

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