Showing items 1681 - 1700 of 3133

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Magonde

- Gwenzi Gwasera, Tracey, Hugh

Okuimba 2

- William Uakambangula, Tracey, Hugh

Marhaban sheikhlwa dhifa

- Sheik Mohammed Bin Isa with Arab/Swahili boys, Hugh Tracey

  • Authors: Sheik Mohammed Bin Isa with Arab/Swahili boys , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Music--Kenya , Songs, Swahili--Kenya , Songs, Swahili--Tanzania , Field recordings , Africa, Sub-Saharan , Africa Kenya Malindi f-ke
  • Language: Arabic
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179995 , vital:43291 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR171-13
  • Description: Chant in praise of Allah. It is commonly believed by Mohammedans that by constantly repeating the name of the a dead Sheik you could see him in a vision. The capacity for "seeing" eidetic images is found all over the world. This kind of 'grunting' is found in many African tribes who have experienced the influence of Mohammedanism. It is also used among the Xhosa of the transkei although they are said to have left East Africa about 400 years ago and have no trace of that religion today. Praise of Allah.
  • Full Text: false
  • Date Issued: 1950

Kinyakinya

- Melany Mewarali with Meru men and women, Hugh Tracey

Tali tale naua melalo

- Festus Hailemo, Tracey, Hugh

Hulula mtemi wiswe (Our old chief has vanished)

- Idi Selemani and Hashima Kamata with Nyamwezi men and women, Hugh Tracey

  • Authors: Idi Selemani and Hashima Kamata with Nyamwezi men and women , Hugh Tracey
  • Date: 1950
  • Subjects: Nyamwezi (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwadui f-tz
  • Language: Nyamwezi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/173273 , vital:42352 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR150-04
  • Description: "The name of the dance means "Go as you please" and it appears gives the dancers the freedom to do steps and movements as they wish and not in strict tempo or unison with other dancers. The style of singing is typical of those away from home and differs materially from the same type of song sung at home. Hiyari ya moyo dance song for men for men and women, with cylindrical laced drums and conical pegged (-14.22101-) and ankle bells (-12.55-).
  • Full Text: false
  • Date Issued: 1950

Amyindre dobuzindrine

- Njenje abd Tipoyi carriers, Hugh Tracey

  • Authors: Njenje abd Tipoyi carriers , 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/10962/166870 , vital:41413 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0120-14
  • Description: "I shall be all alone, when I lie in the grave." The theme of death is common in songs of this part of the Congo and also in Uganda. Until recently the Medje were notorious for cannibalism. Strangers, it is said, had little chance of emerging from the Medje palm forests alive or enjoying a lonely grave. Tipoyi carrying song with basket rattle.
  • Full Text: false
  • Date Issued: 1952

Bachituta panchi (The defeated one)

- William Mapulanga and Friends, Hugh Tracey

Mangondo azipita (Mangondo must go)

- Livinia Jere and 2 Chewa women, Hugh Tracey

Mungeniso. 5th Movement

- Ngodo of Cabo Mahamba, Chiponi Kwapeni (Leader), Tracey, Hugh

Pygmy dance I

- Mambuti Pygmy men and women, Hugh Tracey

Mugasha 5

- Habib Bin Seliman, Hugh Tracey

  • Authors: Habib Bin Seliman , Hugh Tracey
  • Date: 1950
  • Subjects: Music--Uganda , Haya (African people) , Nyoro (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania / Uganda Kabale / Bukoba f-tz / f-ug
  • Language: Nyoro , Haya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/172369 , vital:42194 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR145-16
  • Description: The singer was word perfect throughout the whole recitation. He tells the locally well known legend of the Lake Victoria Nyanza. He is credited with being the best legend reciter in all the Haya country. Before Mugasha was born he is said to have threatened his mother that unless he was born quickly he would come out of the side of the womb. The instrument had to be returned before the end of the legend, as one or two strings were slightly flat. It was originally recorded in five sections. The Legend of spirit of the Lake, with Nanga trough Zither.
  • Full Text: false
  • Date Issued: 1950

Tula Tula (Hush, hush)

- Young girls and boys of Durban location, Hugh Tracey

Sabwabwa

- Group of 5 Kete men, Hugh Tracey

  • Authors: Group of 5 Kete men , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Luba (African people) , Southern Lunda (African people) , Folk music , Africa, Sub-Saharan , Africa Congo (Democratic Republic) Katanga f-cg
  • Language: Lunda
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/139402 , vital:37735 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR048-03
  • Description: The slit drum is called mutumba (the canoe) and the cylindrical drum is Nguma. This group is situated between the Lunda and the Luba. A notably fierce and savage people. They come from the extreme south of the Kasai-near the Angola border. This dance was (in the old days) danced with a slave in the midst. At the final "Ho" (characteristic of the dance) the slave's head was severed at a single blow. The 3 xylophones were propped up at sn angle of about 45 degrees by small forked sticks. The resonators were either gourds or lengths of bamboo with open mirliton. The bamboo resonators were palstered with mud, presumably to stop their cracking. Each note was attached to the frame with a simple cord, but prevented from slipping by a second string attached near the node and made fast onto the frame. The insulating material on the frame was a bundle of long grass in each case. The three xylophones were called:- Dujimba devase. " dwapakadie. " dwa mukuma. Maza dance for men and women with 1 slit drum (canoe), 1 weighted cylindrical drum (Nguma), open hand beaten and 3 xylophones.
  • Full Text: false
  • Date Issued: 1957

The elephant hunt

- Group of Mambuti men, Hugh Tracey

  • Authors: Group of Mambuti men , Hugh Tracey
  • Date: 1952
  • Subjects: Songs, Swahili , Mbuti (African people) , Swahili-speaking peoples , Pygmies , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Mbau-Mbili f-cg
  • Language: Congo Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/168214 , vital:41552 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0125-08
  • Description: This recording starts with the sound of the pygmy hunting pipes with which they call each other in the forest while hunting. To prevent their cracking, the pipes are often encased in the skin of a wild pig's tail shrunk onto the hollowed pipe while still wet. The cries and whistles are performed at the kill before they sing ther song of success at the death of Tembo, the elephant. This tribe of pygmy men are the genuine pygmies of the Ituri forest in central Congo, og which there are three groups, the Mbuti, the Mbenga and the Tshwa. They live by hunting in the forest by gathering honey ad by barter of these products, meat and honey for grain and cassava with the Nande tribe of Bantu who live on the edge of the forest. They have a remarkable technique for killing elephants first hamstringing the animal. They are simple, diginified little creatures with amazing powers of observationand stalking of birds, monkeys and antelope in the forest. They live in the simplest of shelters and frequently move in search of honey and game. Hunting song, with 2 hunting whistles, drum and sticks.
  • Full Text: false
  • Date Issued: 1952

Lelingoana

- Composer not specified, Group of Sotho men (Performers), Hugh Tracey

Siavuma

- Ndlovu, Nhongeni, Tracey, Hugh

  • Authors: Ndlovu, Nhongeni , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Pedi (African people) , Folk music--South Africa , Field recordings , Africa, Sub-Saharan , Africa South Africa Bushbuck Ridge f-sa
  • Language: Pedi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/188463 , vital:44756 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR194-11
  • Description: An add collection of old bones was picked up off the ground nearby to use for this sketch. The man taking the part of the diviner is a Shangaan man of the Gungunyana group many of whom cam from Mozambique to live among the Mapulana Pedi at the begining of the century. They still retain their Tsonga language but for many years both Pedi and Tsonga have become bilingual, understanding each others language without difficulty. Fortune telling sketch with bones
  • Full Text: false
  • Date Issued: 1963

Endai kwenyu watonga, usare machinda (Go away home Watonga, leaving the sons of Chiefs)

- S. Murira, C. Madzikuminga, Z. Muzengedza and S. Madera, Hugh Tracey

Nakidema changu kake juma

- Simai Bini Ali with Swahili men, Hugh Tracey

  • Authors: Simai Bini Ali with Swahili men , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Zanzibar f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179902 , vital:43247 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR171-03
  • Description: This short song is used for waking up the people for their last meal-the second of the night during the fast of Ramadhan. The singers go around singing and playing the drum at about 1-2 a.m. It is a picturesque Swahili/Mohammedan custom. The to membranes of the bass drum are tuned to different notes. Kigoma cha daku songs, with 2 tin rattles, 1 double-sided bass drum.
  • Full Text: false
  • Date Issued: 1950

Nheura

- Chabarwa Musunda Sinyoro, Hugh Tracey

  • Authors: Chabarwa Musunda Sinyoro , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Salisbury f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/180123 , vital:43316 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR172-01
  • Description: A song for entertaining the chief. The title of this song has persisted for generations, each no doubt setting its own topical words to the traditional air. This in turn has no doubt suffered many a change in the course of time but is still Nheura for all that. The yodelling by Shona musicians in Southern Rhodesia is a distictive characteristic of their music and is similar to the yodelling of the Mambuti pygmies of North East Congo and the Turi forest. Chabarwa is a Njanja from the Charter district where about 1750 A.D. a certain Portuguese mulatto trader married the chief's daughter and took the Mitupo or clan name of Sinyoro (Senhor) which has been handed down to his male descendants since that date. Leave your husband and let us dance. What I have said is very little. But not enough to leave your husband behind in the house. The dream of Hobe's wife is true, she dreamed about a wagon. It has come, you men. Tall men are lucky, even when they kneel down they are still big. You can do it too. You women, I will start. The children of today are wocked. They only learn to be 'wasters'. We will marry the children of the Zinjanja. There are women who wear skin aprons. But the cost of dresses spoil the country. Who have you come with? Four will come in and the fifth I will go with. Topical song sung for the entertainment of Chiefs, with Njari dza Manjanja (Mbira).
  • Full Text: false
  • Date Issued: 1950
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