Limanya
- Founy Faya (author, composer, lead vocal), Marcelin Yace (flute), Evan's Yace (guitar, arrangement), Jojo (bass), Kone Ibrahim, Founy Faya (percussion), Astride, Oliza, Hariton T Cheky (chorus), Showbiz
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129659 , vital:36317 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-04
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129659 , vital:36317 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-04
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
Blacky's Groove (Dub)
- Founy Faya (author, composer, lead vocal), Marcelin Yace (flute), Evan's Yace (guitar, arrangement), Jojo (bass), Kone Ibrahim, Founy Faya (percussion), Astride, Oliza, Hariton T Cheky (chorus), Showbiz
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129678 , vital:36320 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-07
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129678 , vital:36320 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-07
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
Biliguiri
- Founy Faya (author, composer, lead vocal), Marcelin Yace (flute), Evan's Yace (guitar, arrangement), Jojo (bass), Kone Ibrahim, Founy Faya (percussion), Astride, Oliza, Hariton T Cheky (chorus), Showbiz
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129673 , vital:36319 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-06
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129673 , vital:36319 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-06
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
Africa Unity
- Founy Faya (author, composer, lead vocal), Marcelin Yace (flute), Evan's Yace (guitar, arrangement), Jojo (bass), Kone Ibrahim, Founy Faya (percussion), Astride, Oliza, Hariton T Cheky (chorus), Showbiz
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French , English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129641 , vital:36315 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-02
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French , English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129641 , vital:36315 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-02
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
Blacky's Groove
- Founy Faya (author, composer, lead vocal), Marcelin Yace (flute), Evan's Yace (guitar, arrangement), Jojo (bass), Kone Ibrahim, Founy Faya (percussion), Astride, Oliza, Hariton T Cheky (chorus), Showbiz
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129632 , vital:36314 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-01
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129632 , vital:36314 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-01
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
Kouman
- Founy Faya (author, composer, lead vocal), Marcelin Yace (flute), Evan's Yace (guitar, arrangement), Jojo (bass), Kone Ibrahim, Founy Faya (percussion), Astride, Oliza, Hariton T Cheky (chorus), Showbiz
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129695 , vital:36321 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-08
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129695 , vital:36321 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-08
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
Tougan
- Founy Faya (author, composer, lead vocal), Marcelin Yace (flute), Evan's Yace (guitar, arrangement), Jojo (bass), Kone Ibrahim, Founy Faya (percussion), Astride, Oliza, Hariton T Cheky (chorus), Showbiz
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129668 , vital:36318 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-05
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129668 , vital:36318 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-05
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
Tougan (Dub)
- Founy Faya (author, composer, lead vocal), Marcelin Yace (flute), Evan's Yace (guitar, arrangement), Jojo (bass), Kone Ibrahim, Founy Faya (percussion), Astride, Oliza, Hariton T Cheky (chorus), Showbiz
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129646 , vital:36316 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-03
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
- Authors: Founy Faya (author, composer, lead vocal) , Marcelin Yace (flute) , Evan's Yace (guitar, arrangement) , Jojo (bass) , Kone Ibrahim, Founy Faya (percussion) , Astride, Oliza, Hariton T Cheky (chorus) , Showbiz
- Date: 2000
- Subjects: Popular music , Reggae music , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129646 , vital:36316 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC31-03
- Description: Reggae music from Cote d'Ivoire's Burkinabe's diaspora
- Full Text: false
- Date Issued: 2000
A portfolio of original compositions exploring syncretism between Indian and western music
- Authors: Ram, Deepak
- Date: 1996
- Subjects: Raga Music -- India -- History and criticism Music -- History and criticism Jazz -- History and criticism
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2654 , http://hdl.handle.net/10962/d1002320
- Description: In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.
- Full Text:
- Date Issued: 1996
- Authors: Ram, Deepak
- Date: 1996
- Subjects: Raga Music -- India -- History and criticism Music -- History and criticism Jazz -- History and criticism
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2654 , http://hdl.handle.net/10962/d1002320
- Description: In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.
- Full Text:
- Date Issued: 1996
Omubaliya
- Bukombe Mukirane, Hugh Tracey
- Authors: Bukombe Mukirane , Hugh Tracey
- Date: 1950
- Subjects: Music--Uganda , Nande (Congolese (Democratic Republic) and Ugandan people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Toro f-ug
- Language: Lhukonzo
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/169556 , vital:41764 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0131-17
- Description: This flute is unusual in that it is made from a single section of banboo 28 inches long by 3/4 inches. The bamboo grows on the higher slopes of the Ruwenzori mountain just above the homes of the Konjo people who live on the foothills below. The first finger hole is 17 inches from the mouthpiece notch. The four holes are played by the first and third fingers of each hand, the thumbs and second fingers holding the flute. Bamboos on the Ruwenzori are said to grow as much as 14 inches per day, which makes them ideal for making flutes as the distance between nodes is long. Nyamulera dance for men with Nyamulera four holed end blown notched flute, two conical drums, laced, single, played with hands.
- Full Text: false
- Date Issued: 1950
- Authors: Bukombe Mukirane , Hugh Tracey
- Date: 1950
- Subjects: Music--Uganda , Nande (Congolese (Democratic Republic) and Ugandan people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Toro f-ug
- Language: Lhukonzo
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/169556 , vital:41764 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0131-17
- Description: This flute is unusual in that it is made from a single section of banboo 28 inches long by 3/4 inches. The bamboo grows on the higher slopes of the Ruwenzori mountain just above the homes of the Konjo people who live on the foothills below. The first finger hole is 17 inches from the mouthpiece notch. The four holes are played by the first and third fingers of each hand, the thumbs and second fingers holding the flute. Bamboos on the Ruwenzori are said to grow as much as 14 inches per day, which makes them ideal for making flutes as the distance between nodes is long. Nyamulera dance for men with Nyamulera four holed end blown notched flute, two conical drums, laced, single, played with hands.
- Full Text: false
- Date Issued: 1950
An investigation into twentieth century flute trios with special reference to representative works by Goossens, Sil'vansky, Raphael, Damase, Marx and Crumb
- Authors: Heunis, Daniela
- Date: 1994
- Subjects: Goossens, Eugene, 1893-1962 Silʹvanskíí, Nikolǎi Iosifovich, 1915-1985 Raphael, Günter, 1903-1960 Damase, Jean-Michel, 1928- Crumb, George Woodwind trios (Flutes (3))
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2641 , http://hdl.handle.net/10962/d1002306
- Description: This thesis ventures into the world of twentieth century chamber music, specifically the trios written for flute, cello and piano. The first chapter discusses the history of the trio, tracing its development from the trio sonata of the Baroque Period to the accompanied sonatas and specifically the sonatas with flute and cello obbligato. Following the unpopularity of the genre throughout the Romantic period, its greater prominence in the Twentieth century is discussed, mentioning specific groups through whom the repertoire has been extended. Forty trios are grouped according to compositional styles. Six trios, each representing an example of a specific style period, have been selected for more detailed discussion, with particular reference to the various ways in which a sense of unity is achieved in each trio. The English composer Eugene Goossens uses impressionistic images, whole tone and chromatic scale patterns and other motifs to unify his trio: "Five Impressions of a Holiday". Nikolay Iosifovich Sil'vansky's "The Hedgehog and the Nightingale" is based on a Russian tale by Juri Jarmicha and uses a narrator. The three characters are represented by specific motivic and / or thematic material which is used throughout the trio. Günter Raphael's Trio-Suite op 44 is the only cyclic work unifying the two outer movements, without repeating any additional motivic material. Jean-Michel Damase condenses some of the material introduced in the opening Prelude in both the two Largo's and the two Arias in his "Sonate en Concert" of 1950. Karl Julius Marx builds his entire "Trio op 61" on a flexible six-note motif. Various movements in the trio" Vox Ba1aenae" by the American George Crumb are 1inked through the use of motives and characteristic instrumental colour. A comprehensive list of 180 twentieth century trios has been compiled, including details of dedications, commissions and first performances. 163 composers from twenty countries, are represented.
- Full Text:
- Date Issued: 1994
- Authors: Heunis, Daniela
- Date: 1994
- Subjects: Goossens, Eugene, 1893-1962 Silʹvanskíí, Nikolǎi Iosifovich, 1915-1985 Raphael, Günter, 1903-1960 Damase, Jean-Michel, 1928- Crumb, George Woodwind trios (Flutes (3))
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2641 , http://hdl.handle.net/10962/d1002306
- Description: This thesis ventures into the world of twentieth century chamber music, specifically the trios written for flute, cello and piano. The first chapter discusses the history of the trio, tracing its development from the trio sonata of the Baroque Period to the accompanied sonatas and specifically the sonatas with flute and cello obbligato. Following the unpopularity of the genre throughout the Romantic period, its greater prominence in the Twentieth century is discussed, mentioning specific groups through whom the repertoire has been extended. Forty trios are grouped according to compositional styles. Six trios, each representing an example of a specific style period, have been selected for more detailed discussion, with particular reference to the various ways in which a sense of unity is achieved in each trio. The English composer Eugene Goossens uses impressionistic images, whole tone and chromatic scale patterns and other motifs to unify his trio: "Five Impressions of a Holiday". Nikolay Iosifovich Sil'vansky's "The Hedgehog and the Nightingale" is based on a Russian tale by Juri Jarmicha and uses a narrator. The three characters are represented by specific motivic and / or thematic material which is used throughout the trio. Günter Raphael's Trio-Suite op 44 is the only cyclic work unifying the two outer movements, without repeating any additional motivic material. Jean-Michel Damase condenses some of the material introduced in the opening Prelude in both the two Largo's and the two Arias in his "Sonate en Concert" of 1950. Karl Julius Marx builds his entire "Trio op 61" on a flexible six-note motif. Various movements in the trio" Vox Ba1aenae" by the American George Crumb are 1inked through the use of motives and characteristic instrumental colour. A comprehensive list of 180 twentieth century trios has been compiled, including details of dedications, commissions and first performances. 163 composers from twenty countries, are represented.
- Full Text:
- Date Issued: 1994
Ungabo phinduzibize ngami
- Loshisha Dlamini (Performer), Composer not specified
- Authors: Loshisha Dlamini (Performer) , Composer not specified
- Subjects: Flute tune , Folk music , Herdboy song , Umtshingozi flute , Emkhuzweni , Northern district , Swaziland
- Type: Sound , Music
- Identifier: vital:15251 , MOA18-11 , http://hdl.handle.net/10962/d1017410 , MOA18
- Description: English translation of title: 'Don't use my name again' , Flute tune played by Loshisha Dlamini. Umtshingozi flute is a plain tube with two finger holes only, the player closing the far end of the flute also to produce his full range of notes , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
- Authors: Loshisha Dlamini (Performer) , Composer not specified
- Subjects: Flute tune , Folk music , Herdboy song , Umtshingozi flute , Emkhuzweni , Northern district , Swaziland
- Type: Sound , Music
- Identifier: vital:15251 , MOA18-11 , http://hdl.handle.net/10962/d1017410 , MOA18
- Description: English translation of title: 'Don't use my name again' , Flute tune played by Loshisha Dlamini. Umtshingozi flute is a plain tube with two finger holes only, the player closing the far end of the flute also to produce his full range of notes , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
Flute Tune Six
- Katsuba Mwongolo, Hugh Tracey
- Authors: Katsuba Mwongolo , Hugh Tracey
- Date: 1952
- Subjects: Genya (African people) , Nande (Congolese (Democratic Republic) and Ugandan people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Butembo f-cg
- Language: Nande
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/168682 , vital:41639 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0127-12
- Description: Herdman's tune from the highlands on the eastern border of the Congo where the hills run alongside the great western rift opposite the Ruwenzori mountains. This remarkable player was somewhat 'simple' herdsman. He plays his flute all day to his cattle and has developed, they say, a distinct style of his own. He is inclined to hum while he plays and his voiced notes can be heard forming a celeste with those of the flute. The player was given a 'Highly commended' prize in the 1952 Osborn Awards for the best African musicians of the year. The first four tunes were copied frim discs in the Reference Library as the original tapes were not available. Nyamulera flute, 4 holed, notched.
- Full Text: false
- Date Issued: 1952
- Authors: Katsuba Mwongolo , Hugh Tracey
- Date: 1952
- Subjects: Genya (African people) , Nande (Congolese (Democratic Republic) and Ugandan people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Butembo f-cg
- Language: Nande
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/168682 , vital:41639 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0127-12
- Description: Herdman's tune from the highlands on the eastern border of the Congo where the hills run alongside the great western rift opposite the Ruwenzori mountains. This remarkable player was somewhat 'simple' herdsman. He plays his flute all day to his cattle and has developed, they say, a distinct style of his own. He is inclined to hum while he plays and his voiced notes can be heard forming a celeste with those of the flute. The player was given a 'Highly commended' prize in the 1952 Osborn Awards for the best African musicians of the year. The first four tunes were copied frim discs in the Reference Library as the original tapes were not available. Nyamulera flute, 4 holed, notched.
- Full Text: false
- Date Issued: 1952
Ilonge Flute Tune
- Balekenosa Kayala, Hugh Tracey
- Authors: Balekenosa Kayala , Hugh Tracey
- Date: 1950
- Subjects: Nyakyusa (African people) , Zaramo (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Kiwira f-tz
- Language: Nyakyusa , Zaramo
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/175256 , vital:42558 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR158-04
- Description: This hunting flute melodies improvised by the player as he sits iutside the hut of a dead friend have a strange fascination. They are played, they said, during the burial feast or wake. A woman can be crying in the background as in mourning. The method of blowing this pipe is interesting. The open, square cut end to the bamboo pipe is partly closed by the tongue, the wind being expelled out of the side of the mouth across the edge of the bamboo. The tongue is used to give a vibrato effect but the purity of tone is marred by the strong edge tone. These tunes, they say, are frequently used for lamenting the dead, and the player will sit all night outside the hut of his dead friend, improvising flute tunes throughout the hours of darkness. Ilonge end blown flutes.
- Full Text: false
- Date Issued: 1950
- Authors: Balekenosa Kayala , Hugh Tracey
- Date: 1950
- Subjects: Nyakyusa (African people) , Zaramo (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Kiwira f-tz
- Language: Nyakyusa , Zaramo
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/175256 , vital:42558 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR158-04
- Description: This hunting flute melodies improvised by the player as he sits iutside the hut of a dead friend have a strange fascination. They are played, they said, during the burial feast or wake. A woman can be crying in the background as in mourning. The method of blowing this pipe is interesting. The open, square cut end to the bamboo pipe is partly closed by the tongue, the wind being expelled out of the side of the mouth across the edge of the bamboo. The tongue is used to give a vibrato effect but the purity of tone is marred by the strong edge tone. These tunes, they say, are frequently used for lamenting the dead, and the player will sit all night outside the hut of his dead friend, improvising flute tunes throughout the hours of darkness. Ilonge end blown flutes.
- Full Text: false
- Date Issued: 1950
Kwebembera Omukama
- The Ntimbo Royal drummers (Performer), Yohana Nyakayonga (Composer)
- Authors: The Ntimbo Royal drummers (Performer) , Yohana Nyakayonga (Composer)
- Subjects: Indigenous music , Drum rhythms , Ntimbo , Drums , Flute , Nsegu , Kikali , Hoima , Bunyoro district , Uganda
- Type: Sound , Music
- Identifier: vital:15406 , MOA29-10 , http://hdl.handle.net/10962/d1017712 , MOA29
- Description: Drum rhythm tune accompanied by 3 Ntimbo drums , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
- Authors: The Ntimbo Royal drummers (Performer) , Yohana Nyakayonga (Composer)
- Subjects: Indigenous music , Drum rhythms , Ntimbo , Drums , Flute , Nsegu , Kikali , Hoima , Bunyoro district , Uganda
- Type: Sound , Music
- Identifier: vital:15406 , MOA29-10 , http://hdl.handle.net/10962/d1017712 , MOA29
- Description: Drum rhythm tune accompanied by 3 Ntimbo drums , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
Ntsiki ntshiki mfazi
- Dlamini, Mndindeiwe, Composer unknown, Tracey, Hugh
- Authors: Dlamini, Mndindeiwe , Composer unknown , Tracey, Hugh
- Date: 1958-03-29
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Eswatini Emkhuzweni f-sq
- Language: Swati
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/249629 , vital:51847 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT565-M17 , Research no. M2E8b
- Description: Flute tunes accompanied by umtshingozi flute.
- Full Text: false
- Date Issued: 1958-03-29
- Authors: Dlamini, Mndindeiwe , Composer unknown , Tracey, Hugh
- Date: 1958-03-29
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Eswatini Emkhuzweni f-sq
- Language: Swati
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/249629 , vital:51847 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT565-M17 , Research no. M2E8b
- Description: Flute tunes accompanied by umtshingozi flute.
- Full Text: false
- Date Issued: 1958-03-29
Zakaliya uphume Nkelebeni
- Dlamini, Mndindeiwe, Composer unknown, Tracey, Hugh
- Authors: Dlamini, Mndindeiwe , Composer unknown , Tracey, Hugh
- Date: 1958-03-29
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Eswatini Emkhuzweni f-sq
- Language: Swati
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/249622 , vital:51846 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT565-M17 , Research no. M2E8a
- Description: Flute tunes accompanied by umtshingozi flute.
- Full Text: false
- Date Issued: 1958-03-29
- Authors: Dlamini, Mndindeiwe , Composer unknown , Tracey, Hugh
- Date: 1958-03-29
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Eswatini Emkhuzweni f-sq
- Language: Swati
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/249622 , vital:51846 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT565-M17 , Research no. M2E8a
- Description: Flute tunes accompanied by umtshingozi flute.
- Full Text: false
- Date Issued: 1958-03-29
A critical and intercultural analysis of selected isiXhosa operas in the East Cape Opera Company's repertory
- Authors: Kunju, Hleze Welsh
- Date: 2013
- Subjects: East Cape Opera Company Operas -- Research -- South Africa -- Eastern Cape Performing arts -- Research -- South Africa -- Eastern Cape Multiculturalism -- South Africa -- Eastern Cape Apartheid -- Research -- South Africa Apartheid and art -- Research -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:3557 , http://hdl.handle.net/10962/d1001861
- Description: The East Cape Opera Company was founded by Gwyneth Lloyd in 1995 and has performed in various Eastern Cape venues and festivals as well as conducting a tour of the Netherlands. The Company has performed well known operas and operettas such as Mozart's The Magic Flute, Gilbert and Sullivan's The Mikado as well as their own original isiXhosa operas such as Temba and Seliba, The Moon Prince - Inkosana Yenyanga and The Clay Flute. This thesis is situated within the context of apartheid and post-apartheid, and an emerging post-1994 South African’s operatic culture that embraces multiculturalism. The aim of this research is to explore and raise awareness regarding intercultural communication in relation to isiXhosa operas and examine the linguistic and dramatic characteristics of the construction of these operas. This involves an analysis of the integration of African cultural practices (dramatic and musical) within an essentially western art form. The thesis makes use of intercultural and literary theory as a point of departure to analyse not only the literary qualities of the isiXhosa operas performed by the East Cape Opera Company, but it also seeks to show how these operas reflect an emerging intercultural reality within the South African context. The thesis explores the mixing of genres, including African genres such as the folktale and oral poetry as part of Opera, which has previously been seen as a Western domain. It is argued that this mixing of genres and languages allows for the success of African Opera
- Full Text:
- Date Issued: 2013
- Authors: Kunju, Hleze Welsh
- Date: 2013
- Subjects: East Cape Opera Company Operas -- Research -- South Africa -- Eastern Cape Performing arts -- Research -- South Africa -- Eastern Cape Multiculturalism -- South Africa -- Eastern Cape Apartheid -- Research -- South Africa Apartheid and art -- Research -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:3557 , http://hdl.handle.net/10962/d1001861
- Description: The East Cape Opera Company was founded by Gwyneth Lloyd in 1995 and has performed in various Eastern Cape venues and festivals as well as conducting a tour of the Netherlands. The Company has performed well known operas and operettas such as Mozart's The Magic Flute, Gilbert and Sullivan's The Mikado as well as their own original isiXhosa operas such as Temba and Seliba, The Moon Prince - Inkosana Yenyanga and The Clay Flute. This thesis is situated within the context of apartheid and post-apartheid, and an emerging post-1994 South African’s operatic culture that embraces multiculturalism. The aim of this research is to explore and raise awareness regarding intercultural communication in relation to isiXhosa operas and examine the linguistic and dramatic characteristics of the construction of these operas. This involves an analysis of the integration of African cultural practices (dramatic and musical) within an essentially western art form. The thesis makes use of intercultural and literary theory as a point of departure to analyse not only the literary qualities of the isiXhosa operas performed by the East Cape Opera Company, but it also seeks to show how these operas reflect an emerging intercultural reality within the South African context. The thesis explores the mixing of genres, including African genres such as the folktale and oral poetry as part of Opera, which has previously been seen as a Western domain. It is argued that this mixing of genres and languages allows for the success of African Opera
- Full Text:
- Date Issued: 2013
Tokora
- Bukombe Mukirane, Hugh Tracey
- Authors: Bukombe Mukirane , Hugh Tracey
- Date: 1950
- Subjects: Music--Uganda , Nande (Congolese (Democratic Republic) and Ugandan people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Toro f-ug
- Language: Lhukonzo
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/169561 , vital:41765 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0131-18
- Description: This flute is unusual in that it is made from a single section of banboo 28 inches long by 3/4 inches. The bamboo grows on the higher slopes of the Ruwenzori mountain just above the homes of the Konjo people who live on the foothills below. The first finger hole is 17 inches from the mouthpiece notch. The four holes are played by the first and third fingers of each hand, the thumbs and second fingers holding the flute. Bamboos on the Ruwenzori are said to grow as much as 14 inches per day, which makes them ideal for making flutes as the distance between nodes is long. Nyamulera dance for men with Nyamulera four holed end blown notched flute, two conical drums, laced, single, played with hands.
- Full Text: false
- Date Issued: 1950
- Authors: Bukombe Mukirane , Hugh Tracey
- Date: 1950
- Subjects: Music--Uganda , Nande (Congolese (Democratic Republic) and Ugandan people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Toro f-ug
- Language: Lhukonzo
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/169561 , vital:41765 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0131-18
- Description: This flute is unusual in that it is made from a single section of banboo 28 inches long by 3/4 inches. The bamboo grows on the higher slopes of the Ruwenzori mountain just above the homes of the Konjo people who live on the foothills below. The first finger hole is 17 inches from the mouthpiece notch. The four holes are played by the first and third fingers of each hand, the thumbs and second fingers holding the flute. Bamboos on the Ruwenzori are said to grow as much as 14 inches per day, which makes them ideal for making flutes as the distance between nodes is long. Nyamulera dance for men with Nyamulera four holed end blown notched flute, two conical drums, laced, single, played with hands.
- Full Text: false
- Date Issued: 1950
Instrument building as a tool for the revitalisation and revaluing of traditional music transmission: An investigation in Tshandama and Mbahe in Venda, South Africa
- Authors: Makhanza, Joseph
- Date: 2023-03-31
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/419525 , vital:71651
- Description: This study stems from my experiences as a child who grew up playing herd boys’ musical instruments from Venda, such as the tshipotoliyo (ocarina), and tshitiringo (flute). Importantly it also builds on my time working at the International Library of African Music (ILAM,) where the aforementioned instruments, as well as the dende (musical bow) and tshizambi (Vhavenda and Vatsonga mouth bow), are displayed in transparent glass cubicles with a note, “Do not touch, they are fragile”. This phrase is painfully apt because, as a musician, I have observed a decline in the availability and performance of these musical instruments. The truth is that, other than at ILAM, these instruments are hardly in circulation, let alone being performed. This fact ignited my interest in relearning some of the musical instruments I used to play and make while herding cows in Giyani. In the context of trends such as modernisation, rural–urban migration, and globalisation, I document my experiences as a musical-instrument maker, teacher, and performer in revitalising dende, tshipotoliyo, tshitiringo, and tshizambi through classroom practice, using Rhodes music students, instrument-making workshops, performances, and community collaborations as inspiration. I propose the development of crafting skills as a medium for revitalising and sustaining these musical instruments which serve as important identity markers of the Vhavenda people. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Date Issued: 2023-03-31
- Authors: Makhanza, Joseph
- Date: 2023-03-31
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/419525 , vital:71651
- Description: This study stems from my experiences as a child who grew up playing herd boys’ musical instruments from Venda, such as the tshipotoliyo (ocarina), and tshitiringo (flute). Importantly it also builds on my time working at the International Library of African Music (ILAM,) where the aforementioned instruments, as well as the dende (musical bow) and tshizambi (Vhavenda and Vatsonga mouth bow), are displayed in transparent glass cubicles with a note, “Do not touch, they are fragile”. This phrase is painfully apt because, as a musician, I have observed a decline in the availability and performance of these musical instruments. The truth is that, other than at ILAM, these instruments are hardly in circulation, let alone being performed. This fact ignited my interest in relearning some of the musical instruments I used to play and make while herding cows in Giyani. In the context of trends such as modernisation, rural–urban migration, and globalisation, I document my experiences as a musical-instrument maker, teacher, and performer in revitalising dende, tshipotoliyo, tshitiringo, and tshizambi through classroom practice, using Rhodes music students, instrument-making workshops, performances, and community collaborations as inspiration. I propose the development of crafting skills as a medium for revitalising and sustaining these musical instruments which serve as important identity markers of the Vhavenda people. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Date Issued: 2023-03-31