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Akapunda (The conqueror)
- Group of 16 Tonga men and boys, Hugh Tracey
- Authors: Group of 16 Tonga men and boys , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137382 , vital:37518
- Description: The leader is Joni Phiri. "Haye Mwazadi mwanozga." "You have done well to come." The Malipenga dance of the Tonga and other tribes of north central Nyasaland was originated, they say, in military drill where it imitates. With African genius for converting what is normally a drudgery into a game, these Tonga made barrack square drilling into a form of enjoyable dance, with opportunities for all to shine in the grace of their movements. The instruments of the mirliton buzzers so that anyone who can sing a Tonga tune can equally well participate in the Malipenga band. Short gourds or horns are used for the higher pitched voices and longer for the bases. 4 Movements of the Malipenga dance, the first 2 with Chandi and Muganda drums, with 12 singing horns (calabash), 1 bass drum laced, cylindrical with 2 beaters.
- Full Text: false
- Authors: Group of 16 Tonga men and boys , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137382 , vital:37518
- Description: The leader is Joni Phiri. "Haye Mwazadi mwanozga." "You have done well to come." The Malipenga dance of the Tonga and other tribes of north central Nyasaland was originated, they say, in military drill where it imitates. With African genius for converting what is normally a drudgery into a game, these Tonga made barrack square drilling into a form of enjoyable dance, with opportunities for all to shine in the grace of their movements. The instruments of the mirliton buzzers so that anyone who can sing a Tonga tune can equally well participate in the Malipenga band. Short gourds or horns are used for the higher pitched voices and longer for the bases. 4 Movements of the Malipenga dance, the first 2 with Chandi and Muganda drums, with 12 singing horns (calabash), 1 bass drum laced, cylindrical with 2 beaters.
- Full Text: false
Aminoiye
- Authors: Mushipi Mukuma , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Luvale (African people) , Folk music , Angola , Congo (Democratic Republic)
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137186 , vital:37496
- Description: Simple song in typical Luvale style of a kind which must have been sung for centuries throughhout Africa. The mbira or Likembe accompaniment of the second is interesting for its cross rhythm. The scale of the instrument is hexatonic in the lower part of the scale but may well be heptatonic if one extra note in the upper octave is taken in to account. Scale of instrument as follows:- 672, 592, 544, 488, 416, 376, 336, 312, 268, 244. Self-delectative song with Muchapata Likembe Mbira box and mirliton
- Full Text: false
- Authors: Mushipi Mukuma , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Luvale (African people) , Folk music , Angola , Congo (Democratic Republic)
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137186 , vital:37496
- Description: Simple song in typical Luvale style of a kind which must have been sung for centuries throughhout Africa. The mbira or Likembe accompaniment of the second is interesting for its cross rhythm. The scale of the instrument is hexatonic in the lower part of the scale but may well be heptatonic if one extra note in the upper octave is taken in to account. Scale of instrument as follows:- 672, 592, 544, 488, 416, 376, 336, 312, 268, 244. Self-delectative song with Muchapata Likembe Mbira box and mirliton
- Full Text: false
Ani siboni nimakuba (My great friend)
- Authors: Iron Khoma , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137303 , vital:37508
- Description: "Marry me, my dear friend. At our home is Nyasaland, the sand is white as cement. If you go to Lusaka you will find there Aleck Nkhata, the Tonga who comes from Nyasaland, of the same line as myself. Self-delectative nostalgic song with Bangwe board zither with 7 strings, lowest not used.
- Full Text: false
- Authors: Iron Khoma , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137303 , vital:37508
- Description: "Marry me, my dear friend. At our home is Nyasaland, the sand is white as cement. If you go to Lusaka you will find there Aleck Nkhata, the Tonga who comes from Nyasaland, of the same line as myself. Self-delectative nostalgic song with Bangwe board zither with 7 strings, lowest not used.
- Full Text: false
Anyangwila yanga pano-kwawo (My Anyangwila is going to her mother)
- Group of 4 Tonga women, Hugh Tracey
- Authors: Group of 4 Tonga women , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137334 , vital:37512
- Description: Anyangwila went off to her mother and lied to her. Sekese dance song with 4 raft rattles.
- Full Text: false
- Authors: Group of 4 Tonga women , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137334 , vital:37512
- Description: Anyangwila went off to her mother and lied to her. Sekese dance song with 4 raft rattles.
- Full Text: false
Ayaya wo- mami- yami- e
- Three Chokwe men, Hugh Tracey
- Authors: Three Chokwe men , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Chokwe (African people) , Folk music , Angola , Congo (Democratic Republic)
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137047 , vital:37482
- Description: The drums are introduced one after the other, the third drum being heavily weighted and having a distinct buzzing tone, takes the main syncopation. The voices are introduced a full minute after the drums have set the rhythm. Chisira initiation dance with 3 goblet drums, open, pinned, weighted, hand beaten.
- Full Text: false
- Authors: Three Chokwe men , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Chokwe (African people) , Folk music , Angola , Congo (Democratic Republic)
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137047 , vital:37482
- Description: The drums are introduced one after the other, the third drum being heavily weighted and having a distinct buzzing tone, takes the main syncopation. The voices are introduced a full minute after the drums have set the rhythm. Chisira initiation dance with 3 goblet drums, open, pinned, weighted, hand beaten.
- Full Text: false
Chani zangaria (I want to be married)
- Authors: Iron Khoma , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137294 , vital:37507
- Description: "I want to have a wife. My friends, I want to be married. The fact that I have little hair on my head makes no difference. I have been singing songs with you for a long time. I have been singing songs with Tajiri and Jacobe. At our homes, over there, we have sung songs." Self-delectative nostalgic song with Bangwe board zither with 7 strings, lowest not used.
- Full Text: false
- Authors: Iron Khoma , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137294 , vital:37507
- Description: "I want to have a wife. My friends, I want to be married. The fact that I have little hair on my head makes no difference. I have been singing songs with you for a long time. I have been singing songs with Tajiri and Jacobe. At our homes, over there, we have sung songs." Self-delectative nostalgic song with Bangwe board zither with 7 strings, lowest not used.
- Full Text: false
E mama pilumuna mbundayobe (Turn round, Mama, or face me so that we can dance together
- Group of 6 Luvale men, Hugh Tracey
- Authors: Group of 6 Luvale men , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Luvale (African people) , Folk music , Folk dance music--Angola
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137274 , vital:37505
- Description: The leader of this group of singers had a remarkable face, deeply chiselled features which gave him a stricking masklike appearence - in fact, a face which made it possible to appreciate the veracity of the art of mask-carving in their home region, surrounding the head waters of both the Zambezi and the Kasai rivers. Kukina and Wangoma dance song.
- Full Text: false
- Authors: Group of 6 Luvale men , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Luvale (African people) , Folk music , Folk dance music--Angola
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137274 , vital:37505
- Description: The leader of this group of singers had a remarkable face, deeply chiselled features which gave him a stricking masklike appearence - in fact, a face which made it possible to appreciate the veracity of the art of mask-carving in their home region, surrounding the head waters of both the Zambezi and the Kasai rivers. Kukina and Wangoma dance song.
- Full Text: false
Elesani banyanja kandhu ka doromo (Look at the Nyanja! There is something coming)
- Group of 14 Tonga men, Hugh Tracey
- Authors: Group of 14 Tonga men , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137429 , vital:37523
- Description: The Malipenga dance of the Tonga and other tribes of north central Nyasaland was originated, they say, in military drill which it imitates. With African genius for converting what is normally a drudgery into a game, these Tonga made barrack square drilling into a form of enjoyable dance, with opportunities for all to shine in the grace of their movements. The instruments of the military band have been substituted by singing horns- with mirliton buzzers- so that anyone who can sing a Tonga tune can equally well participate in the Malipenga band. Short gourds or horns are used for the higher pitched voices and longer for the basses. 2nd and 3rd Movement of the Malipenga dance with bass drum (mine type), pegged, closed, wooden beaters and 1 small cylindrical drum, pegged, closed and wooden beaters.
- Full Text: false
- Authors: Group of 14 Tonga men , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137429 , vital:37523
- Description: The Malipenga dance of the Tonga and other tribes of north central Nyasaland was originated, they say, in military drill which it imitates. With African genius for converting what is normally a drudgery into a game, these Tonga made barrack square drilling into a form of enjoyable dance, with opportunities for all to shine in the grace of their movements. The instruments of the military band have been substituted by singing horns- with mirliton buzzers- so that anyone who can sing a Tonga tune can equally well participate in the Malipenga band. Short gourds or horns are used for the higher pitched voices and longer for the basses. 2nd and 3rd Movement of the Malipenga dance with bass drum (mine type), pegged, closed, wooden beaters and 1 small cylindrical drum, pegged, closed and wooden beaters.
- Full Text: false
Kamusombo wayaya (The tree)
- Group of 6 Luvale men, Hugh Tracey
- Authors: Group of 6 Luvale men , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Luvale (African people) , Folk music , Folk dance music--Angola
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137286 , vital:37506
- Description: "There was a certain a certain woman sitting under a tree who said that ever if her husband chased her away she could still take shelter beneath the tree." It looks as if the woman had the better of the affair in the end. The style of singing, so typically Luvale, appears to be most casual and impromptu were it not for the clear understanding between the performers. Kukina and Wangoma dance song
- Full Text: false
- Authors: Group of 6 Luvale men , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Luvale (African people) , Folk music , Folk dance music--Angola
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137286 , vital:37506
- Description: "There was a certain a certain woman sitting under a tree who said that ever if her husband chased her away she could still take shelter beneath the tree." It looks as if the woman had the better of the affair in the end. The style of singing, so typically Luvale, appears to be most casual and impromptu were it not for the clear understanding between the performers. Kukina and Wangoma dance song
- Full Text: false
Kamuteketi, Kamuteketi, chalu chinu cha ulendo (I came here as a stranger)
- Authors: Iron Khoma , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137312 , vital:37509
- Description: "At our place at home, you will find Beti Kamanga, the son of Balidi. I will stay here till night and sleep until morning. My head is coming through my hair. My father and mother are both dead and I am very poor. Jesus called Moses to leave his fishing and come to Him, on Lake Nyasa." Self-delectative nostalgic song with Bangwe board zither with 7 strings, lowest not used.
- Full Text: false
- Authors: Iron Khoma , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137312 , vital:37509
- Description: "At our place at home, you will find Beti Kamanga, the son of Balidi. I will stay here till night and sleep until morning. My head is coming through my hair. My father and mother are both dead and I am very poor. Jesus called Moses to leave his fishing and come to Him, on Lake Nyasa." Self-delectative nostalgic song with Bangwe board zither with 7 strings, lowest not used.
- Full Text: false
Kividu Kumuzi (At our home)
- Group of 16 Tonga men and boys, Hugh Tracey
- Authors: Group of 16 Tonga men and boys , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137387 , vital:37519
- Description: The leader is Joni Phiri. "Haye Mwazadi mwanozga." "You have done well to come." The Malipenga dance of the Tonga and other tribes of north central Nyasaland was originated, they say, in military drill where it imitates. With African genius for converting what is normally a drudgery into a game, these Tonga made barrack square drilling into a form of enjoyable dance, with opportunities for all to shine in the grace of their movements. The instruments of the mirliton buzzers so that anyone who can sing a Tonga tune can equally well participate in the Malipenga band. Short gourds or horns are used for the higher pitched voices and longer for the bases. 4 Movements of the Malipenga dance, the first 2 with Chandi and Muganda drums, with 12 singing horns (calabash), 1 bass drum.
- Full Text: false
- Authors: Group of 16 Tonga men and boys , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137387 , vital:37519
- Description: The leader is Joni Phiri. "Haye Mwazadi mwanozga." "You have done well to come." The Malipenga dance of the Tonga and other tribes of north central Nyasaland was originated, they say, in military drill where it imitates. With African genius for converting what is normally a drudgery into a game, these Tonga made barrack square drilling into a form of enjoyable dance, with opportunities for all to shine in the grace of their movements. The instruments of the mirliton buzzers so that anyone who can sing a Tonga tune can equally well participate in the Malipenga band. Short gourds or horns are used for the higher pitched voices and longer for the bases. 4 Movements of the Malipenga dance, the first 2 with Chandi and Muganda drums, with 12 singing horns (calabash), 1 bass drum.
- Full Text: false
Muganda we Chitonga Banda (The drum of the Tonga Banda)
- Group of 16 Tonga men and boys, Hugh Tracey
- Authors: Group of 16 Tonga men and boys , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137369 , vital:37517
- Description: The leader is Joni Phiri. "Haye Mwazadi mwanozga." "You have done well to come." The Malipenga dance of the Tonga and other tribes of north central Nyasaland was originated, they say, in military drill where it imitates. With African genius for converting what is normally a drudgery into a game, these Tonga made barrack square drilling into a form of enjoyable dance, with opportunities for all to shine in the grace of their movements. The instruments of the mirliton buzzers so that anyone who can sing a Tonga tune can equally well participate in the Malipenga band. Short gourds or horns are used for the higher pitched voices and longer for the bases. 4 Movements of the Malipenga dance, the first 2 with Chandi and Muganda drums, with 12 singing horns (calabash), 1 bass drum laced, cylindrical with 2 beaters.
- Full Text: false
- Authors: Group of 16 Tonga men and boys , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137369 , vital:37517
- Description: The leader is Joni Phiri. "Haye Mwazadi mwanozga." "You have done well to come." The Malipenga dance of the Tonga and other tribes of north central Nyasaland was originated, they say, in military drill where it imitates. With African genius for converting what is normally a drudgery into a game, these Tonga made barrack square drilling into a form of enjoyable dance, with opportunities for all to shine in the grace of their movements. The instruments of the mirliton buzzers so that anyone who can sing a Tonga tune can equally well participate in the Malipenga band. Short gourds or horns are used for the higher pitched voices and longer for the bases. 4 Movements of the Malipenga dance, the first 2 with Chandi and Muganda drums, with 12 singing horns (calabash), 1 bass drum laced, cylindrical with 2 beaters.
- Full Text: false
Mungore
- Group of 14 Tonga men, Hugh Tracey
- Authors: Group of 14 Tonga men , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137421 , vital:37522
- Description: The Malipenga dance of the Tonga and other tribes of north central Nyasaland was originated, they say, in military drill which it imitates. With African genius for converting what is normally a drudgery into a game, these Tonga made barrack square drilling into a form of enjoyable dance, with opportunities for all to shine in the grace of their movements. The instruments of the military band have been substituted by singing horns- with mirliton buzzers- so that anyone who can sing a Tonga tune can equally well participate in the Malipenga band. Short gourds or horns are used for the higher pitched voices and longer for the basses. 2nd and 3rd Movement of the Malipenga dance with bass drum (mine type), pegged, closed, wooden beaters and 1 small cylindrical drum, pegged, closed and wooden beaters.
- Full Text: false
- Authors: Group of 14 Tonga men , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137421 , vital:37522
- Description: The Malipenga dance of the Tonga and other tribes of north central Nyasaland was originated, they say, in military drill which it imitates. With African genius for converting what is normally a drudgery into a game, these Tonga made barrack square drilling into a form of enjoyable dance, with opportunities for all to shine in the grace of their movements. The instruments of the military band have been substituted by singing horns- with mirliton buzzers- so that anyone who can sing a Tonga tune can equally well participate in the Malipenga band. Short gourds or horns are used for the higher pitched voices and longer for the basses. 2nd and 3rd Movement of the Malipenga dance with bass drum (mine type), pegged, closed, wooden beaters and 1 small cylindrical drum, pegged, closed and wooden beaters.
- Full Text: false
Musafu sumu (Bible hymn)
- Group of 16 Tonga men and boys, Hugh Tracey
- Authors: Group of 16 Tonga men and boys , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137402 , vital:37520
- Description: The leader is Joni Phiri. "Haye Mwazadi mwanozga." "You have done well to come." The Malipenga dance of the Tonga and other tribes of north central Nyasaland was originated, they say, in military drill where it imitates. With African genius for converting what is normally a drudgery into a game, these Tonga made barrack square drilling into a form of enjoyable dance, with opportunities for all to shine in the grace of their movements. The instruments of the mirliton buzzers so that anyone who can sing a Tonga tune can equally well participate in the Malipenga band. Short gourds or horns are used for the higher pitched voices and longer for the bases. 4 Movements of the Malipenga dance, the first 2 with Chandi and Muganda drums, with 12 singing horns (calabash), 1 bass drum.
- Full Text: false
- Authors: Group of 16 Tonga men and boys , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137402 , vital:37520
- Description: The leader is Joni Phiri. "Haye Mwazadi mwanozga." "You have done well to come." The Malipenga dance of the Tonga and other tribes of north central Nyasaland was originated, they say, in military drill where it imitates. With African genius for converting what is normally a drudgery into a game, these Tonga made barrack square drilling into a form of enjoyable dance, with opportunities for all to shine in the grace of their movements. The instruments of the mirliton buzzers so that anyone who can sing a Tonga tune can equally well participate in the Malipenga band. Short gourds or horns are used for the higher pitched voices and longer for the bases. 4 Movements of the Malipenga dance, the first 2 with Chandi and Muganda drums, with 12 singing horns (calabash), 1 bass drum.
- Full Text: false
Mwayishe mbungeya mwema
- Authors: Mushipi Mukuma , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Luvale (African people) , Chokwe (African people) , Folk music , Angola , Congo (Democratic Republic)
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137170 , vital:37495
- Description: Simple song in typical Luvale style of a kind which must have been sung for centuries throughhout Africa. The mbira or Likembe accompaniment of the second is interesting for its cross rhythm. The scale of the instrument is hexatonic in the lower part of the scale but may well be heptatonic if one extra note in the upper octave is taken in to account. Scale of instrument as follows:- 672, 592, 544, 488, 416, 376, 336, 312, 268, 244. Self-delectative song with Muchapata Likembe Mbira box and mirliton
- Full Text: false
- Authors: Mushipi Mukuma , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Luvale (African people) , Chokwe (African people) , Folk music , Angola , Congo (Democratic Republic)
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137170 , vital:37495
- Description: Simple song in typical Luvale style of a kind which must have been sung for centuries throughhout Africa. The mbira or Likembe accompaniment of the second is interesting for its cross rhythm. The scale of the instrument is hexatonic in the lower part of the scale but may well be heptatonic if one extra note in the upper octave is taken in to account. Scale of instrument as follows:- 672, 592, 544, 488, 416, 376, 336, 312, 268, 244. Self-delectative song with Muchapata Likembe Mbira box and mirliton
- Full Text: false
Mwilu mwatuluka womama yami-e!
- Large group of Chokwe men and 8 women, Hugh Tracey
- Authors: Large group of Chokwe men and 8 women , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Luvale (African people) , Chokwe (African people) , Folk music , Angola , Congo (Democratic Republic)
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137099 , vital:37488
- Description: During this song the women sing praises of their husbands. In order to produce a lower tone on the third drum, Iyashina, its membrane is liberally weighted with beeswax. Chiyanda dance song with 3 conical drums (1) Yasongo, 2) Mukundu, 3) Iyashina.
- Full Text: false
- Authors: Large group of Chokwe men and 8 women , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Luvale (African people) , Chokwe (African people) , Folk music , Angola , Congo (Democratic Republic)
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137099 , vital:37488
- Description: During this song the women sing praises of their husbands. In order to produce a lower tone on the third drum, Iyashina, its membrane is liberally weighted with beeswax. Chiyanda dance song with 3 conical drums (1) Yasongo, 2) Mukundu, 3) Iyashina.
- Full Text: false
O Mama Lina, kuvimba mwaro (Mama Lina, let's sing)
- Group of 12 Chokwe men and 8 women, Hugh Tracey
- Authors: Group of 12 Chokwe men and 8 women , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Luvale (African people) , Chokwe (African people) , Folk music , Angola , Congo (Democratic Republic)
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137148 , vital:37492
- Description: The 3 drums enter one after the other with the voices following. As usual it is the deepest toned drum Iyashina which plays most of the syncopation. The dance tunes of the Luvale people are severely stylized and this item is typical of its class. Chiyanda dance song with 3 conical drums. (Yasango, Mukundu and Iyashina).
- Full Text: false
- Authors: Group of 12 Chokwe men and 8 women , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Luvale (African people) , Chokwe (African people) , Folk music , Angola , Congo (Democratic Republic)
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137148 , vital:37492
- Description: The 3 drums enter one after the other with the voices following. As usual it is the deepest toned drum Iyashina which plays most of the syncopation. The dance tunes of the Luvale people are severely stylized and this item is typical of its class. Chiyanda dance song with 3 conical drums. (Yasango, Mukundu and Iyashina).
- Full Text: false
Palileni wanjiwa (Tell the people)
- Pikifoti Chilwa and Tonga men, Hugh Tracey
- Authors: Pikifoti Chilwa and Tonga men , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137354 , vital:37515
- Description: Not how the pitch rises throughout the song. What the people were to be told was not explained. Topical song
- Full Text: false
- Authors: Pikifoti Chilwa and Tonga men , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137354 , vital:37515
- Description: Not how the pitch rises throughout the song. What the people were to be told was not explained. Topical song
- Full Text: false
Pikifoti Chilwa (Name)
- Pikifoti Chilwa and Tonga men, Hugh Tracey
- Authors: Pikifoti Chilwa and Tonga men , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137345 , vital:37513
- Description: It appears to be common practice among these Nyasaland Tonga to sing about themselves and their friends and especially and their friends and especially those who are sufficiently gifted musically to compose new melodies and new words for them. Topical song
- Full Text: false
- Authors: Pikifoti Chilwa and Tonga men , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Folk songs, Tonga (Nyasa) , Songs, Tumbuka , Malawi
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137345 , vital:37513
- Description: It appears to be common practice among these Nyasaland Tonga to sing about themselves and their friends and especially and their friends and especially those who are sufficiently gifted musically to compose new melodies and new words for them. Topical song
- Full Text: false
Samukonga lunga lyambala lya Meli (Samukonga is the husband of Mary)
- Group of 7 Luvale women and 12 men, Hugh Tracey
- Authors: Group of 7 Luvale women and 12 men , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Luvale (African people) , Folk music , Folk music--Zimbabwe
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137239 , vital:37503
- Description: This song with long opening recitative by the leader and the repeated use of the word "Mama", make it an unmistakable example of Luvale singing. The percussive accompaniment is interesting for its complexity and the fact that it seems to bear small direct relationship to the melody produced by the voices but appears to act as a rhythmic and complex background for the singers. Gachacha dance song with struck bottle, 2 pieces of metal and 1 small bell. (bicycle).
- Full Text: false
- Authors: Group of 7 Luvale women and 12 men , Hugh Tracey
- Date: 1957
- Subjects: Folk music--Africa , Luvale (African people) , Folk music , Folk music--Zimbabwe
- Language: Luvale/Chokwe
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/137239 , vital:37503
- Description: This song with long opening recitative by the leader and the repeated use of the word "Mama", make it an unmistakable example of Luvale singing. The percussive accompaniment is interesting for its complexity and the fact that it seems to bear small direct relationship to the melody produced by the voices but appears to act as a rhythmic and complex background for the singers. Gachacha dance song with struck bottle, 2 pieces of metal and 1 small bell. (bicycle).
- Full Text: false