Showing items 1581 - 1600 of 3133

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Mangondo azipita (Mangondo must go)

- Livinia Jere and 2 Chewa women, Hugh Tracey

Anagondo tilowe (Anagondo let me in)

- Livinia Jese and 2 Chewa women, Hugh Tracey

Ngwana le noga (The child and the big watersnake)

- Lizi Mulani, Hugh Tracey

  • Authors: Lizi Mulani , Hugh Tracey
  • Date: 1959
  • Subjects: Folk songs, Tswana , Tswana (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa South Africa Saulspoort f-sa
  • Language: Tswana/Kgatla
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/166263 , vital:41344 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0117-07
  • Description: There was once a child who was with other children and met a man who liked her. He asked the child to pull a splinter from his thumb. For that service many cattle appeared magically and the child was asked to choose one. The other children became jealous and when they passed a large hole in the ground they threw her in. There she lived with a big snake. After a while she wanted to go home again and the snake asked if he could twine himself around her. He did so and as she reached her home the snake went back to his hole. The song was sung on the way home:- "When I sing this song, you will know that I am tired and we must rest a while. Story.
  • Full Text: false
  • Date Issued: 1959

Yela Mabala kangwana sengitowukhonda (Hallo, Mabala)

- Lomadlozi Dlamini and group of Swazi women, Hugh Tracey

  • Authors: Lomadlozi Dlamini and group of Swazi women , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Folk songs, Swazi , Folk music , Africa Ewatini Emkhuzweni, Pigg's Peak f-sq
  • Language: Swati
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/152276 , vital:39241 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR068-12
  • Description: Song sung by the bride's party at a wedding. It appears that the bride must go to her prospective mother-in-law and ask formally to be accepted by her son's family as part of the wedding proceedings. "Hallo! Mabala in Swaziland (currently called Eswatini), I have come to ask for leave to be accepted, KaNgwane." Wedding song.
  • Full Text: false
  • Date Issued: 1958

Ngitowucelinkhoto nahojaba (I have come to ask for admission from thr groom's mother)

- Lomadlozi Dlamini and group of Swazi women, Hugh Tracey

Intombi isonile KaNgwane (A girl has been led astray in Swaziland)

- Lompahlo Dlamini (women of about 28 years), Hugh Tracey

Nginyengwe luyengwe babe (I have been decived by a deceiver)

- Lompahlo Dlamini (women of about 28 years), Hugh Tracey

  • Authors: Lompahlo Dlamini (women of about 28 years) , 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/10962/152807 , vital:39344 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR072-09
  • Description: "Intombi izonile kaNgwane. Ubongiyehla babe Ngubani lontshitshinpondo, Ayinihe emashangane?" "A girl has spoiled herself in KaNgwane. Father, you should leave me alone. You, who changes a pound note and gives it to the Shangaans?" In this song the performer creates a buzzing effect by holding the beater grass against the vibrating string of the bow. It is an interesting melody. Topical song with Makweyana musical bow, stressed and gourd resonated.
  • Full Text: false
  • Date Issued: 1958

Mwanaolo pawani? (Whose child is it)

- Lomwe Police at Zomba, Hugh Tracey

Kulira kwa ng'omba (The song of the Ground Hornbill)

- Lonesi Chewame and Toni Hetara, Hugh Tracey

  • Authors: Lonesi Chewame and Toni Hetara , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Songs, Nyanja , Nyanja (African people) , Folk music , Africa Malawi Katinga f-mw
  • Language: Nyanja/Mang'anja
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/158081 , vital:40146 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR093-08
  • Description: This instrument had ten notes set on two banana stalks with sticks pierced into the stalks to divide the notes. The deep trumpeting of the ground hornbills in the early morning and evening is a well known feature of the low lying regions of the country. The reiterated low note represents the hornbill's call, "Ri-riti, ri-riti." Tune without words. Loose note xylophone.
  • Full Text: false
  • Date Issued: 1958

Mkazi wa mulomo (The talkative woman)

- Lonesi Chewane and Joni Hetara, Hugh Tracey

Manja ndi kapolo (Hands are slaves)

- Lonesi Chewane and Joni Hetara, Hugh Tracey

Elo-e mokwata-e (Hullo, marry)

- Losani Malewa, Hugh Tracey

  • Authors: Losani Malewa , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Songs, Chewa , Lomwe (African people) , Chewa (African people) , Folk music , Africa Malawi Mkanda f-mw
  • Language: Lomwe
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/160670 , vital:40496 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR098-12
  • Description: "All right! let him go and get himself married, he is far too young but let him try. He will come howling home again." "Hullo, marry! Let him go and marry. And he will come back howling." The Tangara bowed lute had one string. It was tuned by means of a tuning peg and a straining loop of string for more a accurate pitch. From straining string to bridge was 13 inches and the lute itself was two and a half inches overall. The resonating body was five and half inches tall gourd with a hole pierced in one side. Self delectative song with one-stringed stressed lute Thangara.
  • Full Text: false
  • Date Issued: 1958

Alipaole (When it is dark)

- Losani Malewa, Hugh Tracey

  • Authors: Losani Malewa , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Songs, Chewa , Lomwe (African people) , Chewa (African people) , Folk music , Africa Malawi Mkanda f-mw
  • Language: Lomwe
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/160661 , vital:40492 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR098-11
  • Description: He performs this song, he says, when he is happy. "When it is darkpeople talk. This is a usual thing as they want to enchant each other." To enchant, to influence, to throw a spell upon a person. Self delectative song with one-stringed stressed lute Thangara.
  • Full Text: false
  • Date Issued: 1958

Mikongo ilile (Lions roar)

- Losani Malewa, Hugh Tracey

  • Authors: Losani Malewa , Hugh Tracey
  • Date: 1958
  • Subjects: Folk music--Africa , Field recordings , Songs, Chewa , Lomwe (African people) , Chewa (African people) , Folk music , Africa Malawi Mkanda f-mw
  • Language: Lomwe
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/160679 , vital:40497 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR098-13
  • Description: His songs are performed on any special occasion or at a party. "Lions are roaring at Zomba. I am afraid for those children who go along the road. Build strong fences. (Kraal or skerm as a protection against lions)." The voice and the lute follow each other closely. Party song with Thangara bowed lute.
  • Full Text: false
  • Date Issued: 1958

Ungabo phinduzibize Ngami

- Losina Dlamini, Hugh Tracey

  • 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/10962/152908 , vital:39355 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR072-18
  • 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

- Losina Dlamini, Hugh Tracey

  • 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

Yemankaboi

- Losina Dlamini, Hugh Tracey

  • 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/10962/152913 , vital:39357 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR072-19
  • 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

- Losina Dlamini, Hugh Tracey

  • 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

Muta

- Louis Mulowa, Hugh Tracey

  • 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

Kanenga

- Louis Mulowa, Hugh Tracey

  • 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/10962/182985 , vital:43900 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR179-14
  • Description: A player was sorry when his friend finished his food so he sat down to sing to his Chisanzhi Mbira. 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
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