Showing items 1941 - 1960 of 2794

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Usione kwenda mbele, kurudi nyuma si kazi

- Saadani Abdu Kandoro, Hugh Tracey

Wa sikane izanye muzozwa (Girls, come and listen)

- Andirea Sitole and Petros Simango, Hugh Tracey

  • Authors: Andirea Sitole and Petros Simango , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Music--Mozambique , Africa Mozambique Nova Luzitania f-mz
  • Language: Ndau
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/136288 , vital:37358 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR029-12
  • Description: "Girls come and listen to this song of disappointment. I came to Masina on account of my poverty (literally my 'locusts'). I say Masenra is my father! He was looking for white cloth in the fields. He is coming from Kwachingunde, He is a Sithole (family name), he came from Portuguese East with Mansera who is now an induna, I shall now go back to Portuguese East and tell Masenra that I am going back home. I am going to marry a girl at Mashona's village and she is very beautiful. Ritamashawa is her name. Although you hurt me what can you do to me. The great drum answers the small one." The singer constantly cuts off the last syllable of his last words in the phrase, thus making them appear to be iambic which is not the case. Self-delectative song with Mbira dza waNdau with 3 manuals and bell.
  • Full Text: false
  • Date Issued: 1957

Nyumba ya mwari witu

- Kariuki Ndenderu and kikuyu boys, Hugh Tracey

Kolombo musambo wakalwa kuba shanyi (This man must grow up to be very rich)

- Group of Lulua men, Hugh Tracey

  • Authors: Group of Lulua men , Hugh Tracey
  • Date: 1957
  • Subjects: Folk music--Africa , Songs, Luba-Lulua , Luba (African people)--Music , Cultural anthropology , Luba-Lulua language , Africa Democratic Republic of Congo Kasai f-cg
  • Language: Luba/Lulua
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/136957 , vital:37472 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR035-05
  • Description: The chisanzhi were resonated on gourds (painted and decorated) which are called chilo-o. The chisanzhi-chinene was made out of the central ribs of palm-fronds. The 2 dancers wore tribal dress with colobus monkey-skin belted round their waists, multiple, girdles of black and red twisted thongs and bells slung at the back of the waist. One wore a colobus monkey skin headdress. Panpipes- Shiba. These were end-blown flutes, in small rafts of 2 or 3. Kalombo dance with 1 chisanzhi-chinene mbira (in a raft with bamboo notes), 2 chisanzhi mbira, 4 sets of panpipes, 1 basket rattle and a stick tapped on the side of gourd resonator.
  • Full Text: false
  • Date Issued: 1957

Shuga

- Chabarwa Musunda Moyo, Hugh Tracey

  • Authors: Chabarwa Musunda Moyo , Hugh Tracey
  • Date: 1948
  • Subjects: Folk music--Africa , Folk music--Zimbabwe , Shona (African people) , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe Nedgiwe f-rh
  • Language: Shona
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/181520 , vital:43742 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR175-10
  • Description: This is an old recording taken on disc and not on tape. For this item the player took his Njari out of its resonating gourd with its pieces of shell buzzers, so the sound is clear or Musheshe. 'Shuga' is also an old traditional Karanga tune. Traditional airs on Njari dza maNjanjae
  • Full Text: false
  • Date Issued: 1948

Five songs

- Tsonga women (Performers), Composer not specified, Hugh Tracey

Gatanga mea kpiono ya geduele

- Zande men and women, Hugh Tracey

  • Authors: Zande men and women , Hugh Tracey
  • Date: 1952
  • Subjects: Folk songs, Zande , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Nguru f-cg
  • Language: Zande/Bandiya
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/167858 , vital:41517 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0123-09
  • Description: This dance is performed at full moon, an old Zande custom. The Borassus palm bells are made from the hard shell of the fruit, one end being sawn off for this purpose. Two short lengths of stick are hung inside the shell and the result is similar in shape and size to cow bells used in many countries of the world. Ths size of these Zande Akiri bells was approximately three and half long and three broad. Zande dance with Bugu slit drum, 3 Ndimu double headed, conical cross laced drums, metal hand bells, and Akiri bells made of the borassus palm with wooden clappers.
  • Full Text: false
  • Date Issued: 1952

Mutoka chini

- Nyundu Gabriel (flute) and Kwadi Bonza (mbira) with Luba men, Hugh Tracey

Ye chikoro (Of the school)

- Stephen Runeso Gumbo, Hugh Tracey

Sinibonani mtimba (Good morning bride)

- The seven wives of the Chief, Hugh Tracey

  • Authors: The seven wives of the Chief , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Malawi , Songs, Zulu , Zulu (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Malawi Mzimba f-mw
  • Language: Zulu
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/160898 , vital:40559 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR099-16
  • Description: The spokesman of the bridegroom presents his man, and the women sing their acceptance of him, sitting on the ground. The song ends with 'Bayete' (hail). The song long associated with the Zulu wedding custom in Natal but separated by over 100 years and a thousand miles, show how persistent and nostalgic old songs can be in a strange land inhabited by African 'colonials'. Wedding song.
  • Full Text: false
  • Date Issued: 1950

Kwaheri naja (Goodbye for now)

- 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/10962/173264 , vital:42351 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR150-03
  • Description: "Goodbye for now, I will be back soon." Several songs under this title "Kwaheri naja", are to be found in Tanganyika, but they do not necessarily have the same melody or follow the same pattern. 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

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

Lolo mntwanami (Hush, my child)

- Justine Shabangu, Hugh Tracey

Lolo inamukinga

- Ngoi Nono and Kabango Anastase with 9 Luba men, Hugh Tracey

Yando

- Chief Bianoko and Buudu men, Hugh Tracey

  • Authors: Chief Bianoko and Buudu men , Hugh Tracey
  • Date: 1952
  • Subjects: Songs, Swahili , Bira (African people) , Swahili-speaking peoples , Pygmies , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Gombe f-cg
  • Language: Bira
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/168356 , vital:41571 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0126-03
  • Description: A dance for festive occasions. The Buudu is a Bantu tribe which has moved across westwards from the Rwenzori mountains about 300 miles to the present locality. They are unusually dark skinned for Bantu and use a variety of musical instruments, relying mostly on slit drums for their dance music. Slit drums are common because large timber is plentiful but cattle or antelope skins rare for the making of membranes. The membranes of their conical drums are therefore usually made from elephant ears. Party dance with two conical drums, snall slit drum, two pod drums, ivory horn, basket rattles and two metal hand bells.
  • Full Text: false
  • Date Issued: 1952

Uswezi II

- Uwilula with old Nyamwezi women, Hugh Tracey

Tune Without Name Three

- Hari Ebundo, Hugh Tracey

Dawa mziwanda kula,kula upata afia

- Kaluta Amri Bin Abedi, Hugh Tracey

Tarihinda

- Mihambari and Rwanda girls, Hugh Tracey

Ye Muka Ingwababa Fute Unina (My wife is just like her mother)

- Yelanjani Matula, Hugh Tracey

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