Ngigudla ngenzeni
- Composer not specified, Myeza, Asilida, Umqangala bow player, Dargie, Dave
- Authors: Composer not specified , Myeza, Asilida, Umqangala bow player , Dargie, Dave
- Date: 1982-03-23
- Subjects: Choral music , Field recordings , Africa, Sub-Saharan , Africa South Africa KwaNongoma f-sa
- Language: Zulu
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/268507 , vital:54204 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DD037-09
- Description: Indigenous music.
- Full Text: false
- Date Issued: 1982-03-23
- Authors: Composer not specified , Myeza, Asilida, Umqangala bow player , Dargie, Dave
- Date: 1982-03-23
- Subjects: Choral music , Field recordings , Africa, Sub-Saharan , Africa South Africa KwaNongoma f-sa
- Language: Zulu
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/268507 , vital:54204 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DD037-09
- Description: Indigenous music.
- Full Text: false
- Date Issued: 1982-03-23
Ihubo leNgonyama
- Composer not specified, Myeza, Asilida, Umqangala bow player, Zulu Folk, Dargie, Dave
- Authors: Composer not specified , Myeza, Asilida, Umqangala bow player , Zulu Folk , Dargie, Dave
- Date: 1982-03-23
- Subjects: Choral music , Field recordings , Africa, Sub-Saharan , Africa South Africa KwaNongoma f-sa
- Language: Zulu
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/268530 , vital:54206 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DD037-10
- Description: Indigenous music.
- Full Text: false
- Date Issued: 1982-03-23
- Authors: Composer not specified , Myeza, Asilida, Umqangala bow player , Zulu Folk , Dargie, Dave
- Date: 1982-03-23
- Subjects: Choral music , Field recordings , Africa, Sub-Saharan , Africa South Africa KwaNongoma f-sa
- Language: Zulu
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/268530 , vital:54206 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DD037-10
- Description: Indigenous music.
- Full Text: false
- Date Issued: 1982-03-23
Ubememe
- Composer not specified, Myeza, Asilida, Makhweyane bow player, Zulu Ladies, Dargie, Dave
- Authors: Composer not specified , Myeza, Asilida, Makhweyane bow player , Zulu Ladies , Dargie, Dave
- Date: 1982-03-23
- Subjects: Choral music , Field recordings , Africa, Sub-Saharan , Africa South Africa KwaNongoma f-sa
- Language: Zulu
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/268398 , vital:54191 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DD037-04
- Description: Indigenous music.
- Full Text: false
- Date Issued: 1982-03-23
- Authors: Composer not specified , Myeza, Asilida, Makhweyane bow player , Zulu Ladies , Dargie, Dave
- Date: 1982-03-23
- Subjects: Choral music , Field recordings , Africa, Sub-Saharan , Africa South Africa KwaNongoma f-sa
- Language: Zulu
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/268398 , vital:54191 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DD037-04
- Description: Indigenous music.
- Full Text: false
- Date Issued: 1982-03-23
Ndinosara nani (With whom shall I stay)
- Muroiwa Musobenzo, Hugh Tracey
- Authors: Muroiwa Musobenzo , Hugh Tracey
- Date: 1949
- Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Zaka f-rh
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/180403 , vital:43360 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR173-06
- Description: a) This tune in 5 time is very well known in the southern part of the country, and has been set to the Njari Mbira as well as the bow and was recorded by H. T. T. in 1933, sixteen years earlier. b) The player strained up his bow for the second tune. Both tunes were recorded with the microphone very near the performer's mouth in order to demonstrate the sound of the Chipedani as heard by the player himself. The mouthed harmonics can be clearly heard. Only those very nearby would in fact hear the bow clearly and the mouth harmonics. Self delectative songs, with Chipendani musical bow and Chimazambi friction bow.
- Full Text: false
- Date Issued: 1949
- Authors: Muroiwa Musobenzo , Hugh Tracey
- Date: 1949
- Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Zaka f-rh
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/180403 , vital:43360 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR173-06
- Description: a) This tune in 5 time is very well known in the southern part of the country, and has been set to the Njari Mbira as well as the bow and was recorded by H. T. T. in 1933, sixteen years earlier. b) The player strained up his bow for the second tune. Both tunes were recorded with the microphone very near the performer's mouth in order to demonstrate the sound of the Chipedani as heard by the player himself. The mouthed harmonics can be clearly heard. Only those very nearby would in fact hear the bow clearly and the mouth harmonics. Self delectative songs, with Chipendani musical bow and Chimazambi friction bow.
- Full Text: false
- Date Issued: 1949
Chimwanikoda
- Munthuanengwi Muhlanga, Hugh Tracey
- Authors: Munthuanengwi Muhlanga , Hugh Tracey
- Date: 1949
- Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Gwelo f-rh
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/180348 , vital:43355 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR173-04
- Description: An unusual musical bow on account of the use of a bridge ith which to divide the string into two segements and convey the sound direct to a small drum like resonator attached to the bow near its center. This simple little bow is played with an ox-tail bow near the point of stress. A thin stick is inserted between the gourd's membrane and the wire, conveying the sound down to the resonator and also dividing the single string into two unequal segments. The player stops the shorter of the two, thus producing the fundamental note on the longer segment and two or three notes on the shorter. It is perhaps strange to think that this product could prove entertaining and satisfactory to the performer. Self delectative song, with Chimwanikoda bowed musical bow, braced.
- Full Text: false
- Date Issued: 1949
- Authors: Munthuanengwi Muhlanga , Hugh Tracey
- Date: 1949
- Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Gwelo f-rh
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/180348 , vital:43355 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR173-04
- Description: An unusual musical bow on account of the use of a bridge ith which to divide the string into two segements and convey the sound direct to a small drum like resonator attached to the bow near its center. This simple little bow is played with an ox-tail bow near the point of stress. A thin stick is inserted between the gourd's membrane and the wire, conveying the sound down to the resonator and also dividing the single string into two unequal segments. The player stops the shorter of the two, thus producing the fundamental note on the longer segment and two or three notes on the shorter. It is perhaps strange to think that this product could prove entertaining and satisfactory to the performer. Self delectative song, with Chimwanikoda bowed musical bow, braced.
- Full Text: false
- Date Issued: 1949
Ekyeshansha
- Authors: Katakura , Hugh Tracey
- Date: 1950
- Subjects: Music--Uganda , Nyoro (African people) , Nyankole (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Kamakuzi f-ug
- Language: Nyoro , Nyankole
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/170065 , vital:41854 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0134-12
- Description: This strange and rather unmusical instrument is a plain J shaped bow of round section. The long arm of the J is held onto the left shoulder and the base of the bow stands on a resonator; a petrol tin, held there by the left hand. There are 3 strings two across the lower end of the bow which are plucked by the left thumb. The third (plucked with a stick plectrum) is stretched across the bow from the lower tip to near the upper hip. It is stoped by the player's chin, in one, two or three positions. A very simple accompaniment only is possible. The tuning of these strings was as follows; 364, 292, 198. 1. 364 vs. the shortest strng across the head of the bow. 2. 292 is the second string above it. 3. 198 is the stopped string. 1 is played by plucking with the left thumb. 2 is played by both the left thumb and by the plectrum in the right hand. 3 is played by the plectrum only. The song recalls the fighting with a certain tribe to the south which is now part of Tanganyika territory, and praises the old army. In this part of Africa and especially around the great lakes several reciters of legend use relatively unmusical instruments with which to provide a thrumming background to their declamations. Historic recitation with musical bow of three strings. Ekiningo.
- Full Text: false
- Date Issued: 1950
- Authors: Katakura , Hugh Tracey
- Date: 1950
- Subjects: Music--Uganda , Nyoro (African people) , Nyankole (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Kamakuzi f-ug
- Language: Nyoro , Nyankole
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/170065 , vital:41854 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0134-12
- Description: This strange and rather unmusical instrument is a plain J shaped bow of round section. The long arm of the J is held onto the left shoulder and the base of the bow stands on a resonator; a petrol tin, held there by the left hand. There are 3 strings two across the lower end of the bow which are plucked by the left thumb. The third (plucked with a stick plectrum) is stretched across the bow from the lower tip to near the upper hip. It is stoped by the player's chin, in one, two or three positions. A very simple accompaniment only is possible. The tuning of these strings was as follows; 364, 292, 198. 1. 364 vs. the shortest strng across the head of the bow. 2. 292 is the second string above it. 3. 198 is the stopped string. 1 is played by plucking with the left thumb. 2 is played by both the left thumb and by the plectrum in the right hand. 3 is played by the plectrum only. The song recalls the fighting with a certain tribe to the south which is now part of Tanganyika territory, and praises the old army. In this part of Africa and especially around the great lakes several reciters of legend use relatively unmusical instruments with which to provide a thrumming background to their declamations. Historic recitation with musical bow of three strings. Ekiningo.
- Full Text: false
- Date Issued: 1950
Eky’omutwe gw’abarwane
- Authors: Katakura , Hugh Tracey
- Date: 1950
- Subjects: Music--Uganda , Nyoro (African people) , Nyankole (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Kamakuzi f-ug
- Language: Nyoro , Nyankole
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/170056 , vital:41853 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0134-11
- Description: This strange and rather unmusical instrument is a plain J shaped bow of round section. The long arm of the J is held onto the left shoulder and the base of the bow stands on a resonator; a petrol tin, held there by the left hand. There are 3 strings two across the lower end of the bow which are plucked by the left thumb. The third (plucked with a stick plectrum) is stretched across the bow from the lower tip to near the upper hip. It is stoped by the player's chin, in one, two or three positions. A very simple accompaniment only is possible. The tuning of these strings was as follows; 364, 292, 198. 1. 364 vs. the shortest strng across the head of the bow. 2. 292 is the second string above it. 3. 198 is the stopped string. 1 is played by plucking with the left thumb. 2 is played by both the left thumb and by the plectrum in the right hand. 3 is played by the plectrum only. The song recalls the fighting with a certain tribe to the south which is now part of Tanganyika territory, and praises the old army. In this part of Africa and especially around the great lakes several reciters of legend use relatively unmusical instruments with which to provide a thrumming background to their declamations. Historic recitation with musical bow of three strings. Ekiningo.
- Full Text: false
- Date Issued: 1950
- Authors: Katakura , Hugh Tracey
- Date: 1950
- Subjects: Music--Uganda , Nyoro (African people) , Nyankole (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Kamakuzi f-ug
- Language: Nyoro , Nyankole
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/170056 , vital:41853 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0134-11
- Description: This strange and rather unmusical instrument is a plain J shaped bow of round section. The long arm of the J is held onto the left shoulder and the base of the bow stands on a resonator; a petrol tin, held there by the left hand. There are 3 strings two across the lower end of the bow which are plucked by the left thumb. The third (plucked with a stick plectrum) is stretched across the bow from the lower tip to near the upper hip. It is stoped by the player's chin, in one, two or three positions. A very simple accompaniment only is possible. The tuning of these strings was as follows; 364, 292, 198. 1. 364 vs. the shortest strng across the head of the bow. 2. 292 is the second string above it. 3. 198 is the stopped string. 1 is played by plucking with the left thumb. 2 is played by both the left thumb and by the plectrum in the right hand. 3 is played by the plectrum only. The song recalls the fighting with a certain tribe to the south which is now part of Tanganyika territory, and praises the old army. In this part of Africa and especially around the great lakes several reciters of legend use relatively unmusical instruments with which to provide a thrumming background to their declamations. Historic recitation with musical bow of three strings. Ekiningo.
- Full Text: false
- Date Issued: 1950
Jwana ingicebenkhosini (Jwana betrays me to the king)
- Magamtshwala Mdwamdwe, Hugh Tracey
- Authors: Magamtshwala Mdwamdwe , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Folk songs, Swazi , Folk music , Africa Eswatini Entonjeni, Pigg's Peak f-sa
- Language: Swati
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/152883 , vital:39352 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR072-15
- Description: This form of open string bow is common to the Nguni people and is held near the lower end of the bow which is held upright. This player stopped the string to obtain his higher note by pinching the string between his first finger and his thumb nail of the left hand, the right hand striking the bow about 10" - 12" from the node above his left hand. He produced a buzzing sound on the string by keeping his thumb nail close to the vibrating string. The closed note by contrast is clear. Topical song with Ligubu bow.
- Full Text: false
- Date Issued: 1958
- Authors: Magamtshwala Mdwamdwe , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Folk songs, Swazi , Folk music , Africa Eswatini Entonjeni, Pigg's Peak f-sa
- Language: Swati
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/152883 , vital:39352 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR072-15
- Description: This form of open string bow is common to the Nguni people and is held near the lower end of the bow which is held upright. This player stopped the string to obtain his higher note by pinching the string between his first finger and his thumb nail of the left hand, the right hand striking the bow about 10" - 12" from the node above his left hand. He produced a buzzing sound on the string by keeping his thumb nail close to the vibrating string. The closed note by contrast is clear. Topical song with Ligubu bow.
- Full Text: false
- Date Issued: 1958
Ndinoda kuyenda mbuyawe
- Authors: Mashanje Shawa , Hugh Tracey
- Date: 1949
- Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Zaka f-rh
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/180492 , vital:43394 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR173-07
- Description: These three short tunes also demonstrate the sound of the friction bow as heard by the player. One end of the palm leaf strip is held across the open mouth and the whole is set in vibration by the rattle stick rubbing across serations in the bow. The mouth harmonies can be heard through the piercing noise of the rattle and the rubbing. Self delectative songs, with Chipendani musical bow and Chimazambi friction bow.
- Full Text: false
- Date Issued: 1949
- Authors: Mashanje Shawa , Hugh Tracey
- Date: 1949
- Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Zaka f-rh
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/180492 , vital:43394 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR173-07
- Description: These three short tunes also demonstrate the sound of the friction bow as heard by the player. One end of the palm leaf strip is held across the open mouth and the whole is set in vibration by the rattle stick rubbing across serations in the bow. The mouth harmonies can be heard through the piercing noise of the rattle and the rubbing. Self delectative songs, with Chipendani musical bow and Chimazambi friction bow.
- Full Text: false
- Date Issued: 1949
Kwa ambuya asina keriya
- Muchabaiwa and two others, Hugh Tracey
- Authors: Muchabaiwa and two others , Hugh Tracey
- Date: 1951
- Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Marandellas f-rh
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/180637 , vital:43595 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR170-06
- Description: "You must bring your mother-in-law a present on your bicycle carrier when you go to see her, or she will be angry." Towards the end of the second tune the bow player can be heard whistling out of the side of his mouth. The performer of the mouth bow sometimes resonates the harmonics out of the side of the mouth and sometimes whistles without taking the bow from his mouth. Self delectative song, with Chipendani musical bow, mouth resonated
- Full Text: false
- Date Issued: 1951
- Authors: Muchabaiwa and two others , Hugh Tracey
- Date: 1951
- Subjects: Folk music--Africa , Shona (African people) , Folk music--Zimbabwe , Field recordings , Africa, Sub-Saharan , Zimbabwe , Africa Zimbabwe Marandellas f-rh
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/180637 , vital:43595 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR170-06
- Description: "You must bring your mother-in-law a present on your bicycle carrier when you go to see her, or she will be angry." Towards the end of the second tune the bow player can be heard whistling out of the side of his mouth. The performer of the mouth bow sometimes resonates the harmonics out of the side of the mouth and sometimes whistles without taking the bow from his mouth. Self delectative song, with Chipendani musical bow, mouth resonated
- Full Text: false
- Date Issued: 1951
Awe, iee, sankha wekha (Choose, yourself)
- Petros Samalaboma, Hugh Tracey
- Authors: Petros Samalaboma , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Songs, Nyanja , Songs, Chewa , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Mzuzu, Northern Nyasaland f-mw
- Language: Nyanja, Chewa, Chichewa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/154009 , vital:39553 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR079-06
- Description: The meaning of the song is not clear. The Kubu bow is a simple tall bow (56 inches) held vertically and strained near the lower end, the main segment of the string being 40 inches long. It has a gourd resonator. The player struck the long segment only, stopping it with the point of his first finger and with his thumb. Self delectative song with musical bow.
- Full Text: false
- Date Issued: 1958
- Authors: Petros Samalaboma , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Songs, Nyanja , Songs, Chewa , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Mzuzu, Northern Nyasaland f-mw
- Language: Nyanja, Chewa, Chichewa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/154009 , vital:39553 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR079-06
- Description: The meaning of the song is not clear. The Kubu bow is a simple tall bow (56 inches) held vertically and strained near the lower end, the main segment of the string being 40 inches long. It has a gourd resonator. The player struck the long segment only, stopping it with the point of his first finger and with his thumb. Self delectative song with musical bow.
- Full Text: false
- Date Issued: 1958
Urunahi
- Authors: Ntamakiriro , Hugh Tracey
- Date: 1952
- Subjects: Folk music--Africa , Songs, Kinyarwanda--Rwanda , Rundi (African people) , Folk songs, Rundi , Africa Rwanda Kibimba f-rw
- Language: Kinyarwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/148971 , vital:38791 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR058-08
- Description: The singer addresses himself to the chiefs of the country asking for alms. Player holds a small rattle in his right hand, the stick of which strikes the gourd in order to create additional percussion. This same type of bow is called UKUBU by the HA and UGUBU by the Zulu. Fundamental notes of bow:- 288 and 720 vs. Medicant's song with musical bow, vertical, braced and gourd resonated.
- Full Text: false
- Date Issued: 1952
- Authors: Ntamakiriro , Hugh Tracey
- Date: 1952
- Subjects: Folk music--Africa , Songs, Kinyarwanda--Rwanda , Rundi (African people) , Folk songs, Rundi , Africa Rwanda Kibimba f-rw
- Language: Kinyarwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/148971 , vital:38791 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR058-08
- Description: The singer addresses himself to the chiefs of the country asking for alms. Player holds a small rattle in his right hand, the stick of which strikes the gourd in order to create additional percussion. This same type of bow is called UKUBU by the HA and UGUBU by the Zulu. Fundamental notes of bow:- 288 and 720 vs. Medicant's song with musical bow, vertical, braced and gourd resonated.
- Full Text: false
- Date Issued: 1952
Nya udile
- Raimundu Andreu, Luis Manuel maCanda, Tracey, Hugh
- Authors: Raimundu Andreu , Luis Manuel maCanda , Tracey, Hugh
- Date: 1963
- Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Canda f-mz
- Language: Chopi
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/194192 , vital:45427 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR205-03
- Description: The Chibvelani bow was strung with Ilala palm leaf and the player used all four fingers of the left hand to stop the string and not the more usual one or two, hence the more interesting meloduc possibilities. The bow is resonated in the open mouth, the palm leaf passing between, but not touching, the parted lips. The musical principal is the same as that of the Jews Harp, a vibrating medium suspended in front of the mouth cavity, the pitch of the notes being controlled by altering the shape of the mouth and throat. The performer is virtually singing silently. "I am weeping because my wife has left me though I still loved her." In this song, the singer says who he is, where he is, and the name of his chief, as well as other remarks. He continued his first song with additional verses in his third item. Tune on Chitende stressed bow.
- Full Text: false
- Date Issued: 1963
- Authors: Raimundu Andreu , Luis Manuel maCanda , Tracey, Hugh
- Date: 1963
- Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Canda f-mz
- Language: Chopi
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/194192 , vital:45427 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR205-03
- Description: The Chibvelani bow was strung with Ilala palm leaf and the player used all four fingers of the left hand to stop the string and not the more usual one or two, hence the more interesting meloduc possibilities. The bow is resonated in the open mouth, the palm leaf passing between, but not touching, the parted lips. The musical principal is the same as that of the Jews Harp, a vibrating medium suspended in front of the mouth cavity, the pitch of the notes being controlled by altering the shape of the mouth and throat. The performer is virtually singing silently. "I am weeping because my wife has left me though I still loved her." In this song, the singer says who he is, where he is, and the name of his chief, as well as other remarks. He continued his first song with additional verses in his third item. Tune on Chitende stressed bow.
- Full Text: false
- Date Issued: 1963
Nya udile II
- Raimundu Andreu, Luis Manuel maCanda, Tracey, Hugh
- Authors: Raimundu Andreu , Luis Manuel maCanda , Tracey, Hugh
- Date: 1963
- Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Canda f-mz
- Language: Chopi
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/194212 , vital:45430 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR205-05
- Description: The Chibvelani bow was strung with Ilala palm leaf and the player used all four fingers of the left hand to stop the string and not the more usual one or two, hence the more interesting meloduc possibilities. The bow is resonated in the open mouth, the palm leaf passing between, but not touching, the parted lips. The musical principal is the same as that of the Jews Harp, a vibrating medium suspended in front of the mouth cavity, the pitch of the notes being controlled by altering the shape of the mouth and throat. The performer is virtually singing silently. Song sung with additional verses. Tune on Chitende stressed bow.
- Full Text: false
- Date Issued: 1963
- Authors: Raimundu Andreu , Luis Manuel maCanda , Tracey, Hugh
- Date: 1963
- Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Canda f-mz
- Language: Chopi
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/194212 , vital:45430 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR205-05
- Description: The Chibvelani bow was strung with Ilala palm leaf and the player used all four fingers of the left hand to stop the string and not the more usual one or two, hence the more interesting meloduc possibilities. The bow is resonated in the open mouth, the palm leaf passing between, but not touching, the parted lips. The musical principal is the same as that of the Jews Harp, a vibrating medium suspended in front of the mouth cavity, the pitch of the notes being controlled by altering the shape of the mouth and throat. The performer is virtually singing silently. Song sung with additional verses. Tune on Chitende stressed bow.
- Full Text: false
- Date Issued: 1963
Joo tsaka
- Raimundu Andreu, Luis Manuel maCanda, Tracey, Hugh
- Authors: Raimundu Andreu , Luis Manuel maCanda , Tracey, Hugh
- Date: 1963
- Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Canda f-mz
- Language: Chopi
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/194202 , vital:45428 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR205-04
- Description: The Chibvelani bow was strung with Ilala palm leaf and the player used all four fingers of the left hand to stop the string and not the more usual one or two, hence the more interesting meloduc possibilities. The bow is resonated in the open mouth, the palm leaf passing between, but not touching, the parted lips. The musical principal is the same as that of the Jews Harp, a vibrating medium suspended in front of the mouth cavity, the pitch of the notes being controlled by altering the shape of the mouth and throat. The performer is virtually singing silently. "I am happy because my wife has come back." Tune on Chitende stressed bow.
- Full Text: false
- Date Issued: 1963
- Authors: Raimundu Andreu , Luis Manuel maCanda , Tracey, Hugh
- Date: 1963
- Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Canda f-mz
- Language: Chopi
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/194202 , vital:45428 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR205-04
- Description: The Chibvelani bow was strung with Ilala palm leaf and the player used all four fingers of the left hand to stop the string and not the more usual one or two, hence the more interesting meloduc possibilities. The bow is resonated in the open mouth, the palm leaf passing between, but not touching, the parted lips. The musical principal is the same as that of the Jews Harp, a vibrating medium suspended in front of the mouth cavity, the pitch of the notes being controlled by altering the shape of the mouth and throat. The performer is virtually singing silently. "I am happy because my wife has come back." Tune on Chitende stressed bow.
- Full Text: false
- Date Issued: 1963
Nyamhoni oweha (Name of a woman)
- Petros Samalaboma, Hugh Tracey
- Authors: Petros Samalaboma , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Songs, Nyanja , Songs, Chewa , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Mzuzu, Northern Nyasaland f-mw
- Language: Nyanja, Chewa, Chichewa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/154017 , vital:39554 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR079-07
- Description: The meaning of the song is not clear. The singer claims that some of the words of the song were in Tumbuka/Henga. The Kubu bow is a simple tall bow (56 inches) held vertically and strained near the lower end, the main segment of the string being 40 inches long. It has a gourd resonator. The player struck the long segment only, stopping it with the point of his first finger and with his thumb. Self delectative song with musical bow.
- Full Text: false
- Date Issued: 1958
- Authors: Petros Samalaboma , Hugh Tracey
- Date: 1958
- Subjects: Folk music--Africa , Field recordings , Songs, Nyanja , Songs, Chewa , Nyanja (African people) , Chewa (African people) , Folk music , Africa Malawi Mzuzu, Northern Nyasaland f-mw
- Language: Nyanja, Chewa, Chichewa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/154017 , vital:39554 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR079-07
- Description: The meaning of the song is not clear. The singer claims that some of the words of the song were in Tumbuka/Henga. The Kubu bow is a simple tall bow (56 inches) held vertically and strained near the lower end, the main segment of the string being 40 inches long. It has a gourd resonator. The player struck the long segment only, stopping it with the point of his first finger and with his thumb. Self delectative song with musical bow.
- Full Text: false
- Date Issued: 1958
Se Bana wa Lela (Do not cry baby)
- Nthebolang Molebatsi, Hugh Tracey
- Authors: Nthebolang Molebatsi , Hugh Tracey
- Date: 1959
- Subjects: Folk songs, Tswana , Tswana (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa South Africa Disaneng f-sa
- Language: Tswana/Tlharo
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/164267 , vital:41103 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0110-13
- Description: "Do not cry baby! the water pans have dried up, my father and mother died and I had no one to advise me. (literary 'to straighten me') "My uncle gave me a brown cow which, if it rains, will give me a pailful (of milk). Do not boast of your lover, boast of your husband. One does not boast of a theif." The player sat on the ground with the right leg passed through the bow. She held the bow in her left hand resting the curved wooden part on the ground, string uppermost. She stopped the upper part of the string with her chin, the other end of the bow rested on an enamel basin turned upside down. A second woman joined her towards the end. She stopped playing at one point to adjust the enamel basin resonator. The instrument is played by both men and women. When asked when they play these songs, the answer was, "Any time when we feel onely." Self delectative song with one stringed Nokokwane bow.
- Full Text: false
- Date Issued: 1959
- Authors: Nthebolang Molebatsi , Hugh Tracey
- Date: 1959
- Subjects: Folk songs, Tswana , Tswana (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa South Africa Disaneng f-sa
- Language: Tswana/Tlharo
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/164267 , vital:41103 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0110-13
- Description: "Do not cry baby! the water pans have dried up, my father and mother died and I had no one to advise me. (literary 'to straighten me') "My uncle gave me a brown cow which, if it rains, will give me a pailful (of milk). Do not boast of your lover, boast of your husband. One does not boast of a theif." The player sat on the ground with the right leg passed through the bow. She held the bow in her left hand resting the curved wooden part on the ground, string uppermost. She stopped the upper part of the string with her chin, the other end of the bow rested on an enamel basin turned upside down. A second woman joined her towards the end. She stopped playing at one point to adjust the enamel basin resonator. The instrument is played by both men and women. When asked when they play these songs, the answer was, "Any time when we feel onely." Self delectative song with one stringed Nokokwane bow.
- Full Text: false
- Date Issued: 1959
Hubaba tube mbele bana (Rock our babes to sleep)
- Ntainta Buchili with Sukuma men and women, Hugh Tracey
- Authors: Ntainta Buchili with Sukuma men and women , Hugh Tracey
- Date: 1950
- Subjects: Nyamwezi (African people) , Sukuma (African people) , Folk songs, Sukuma , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwanza f-tz
- Language: Nyamwezi , Sukuma
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/173504 , vital:42378 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR151-09
- Description: The player is a cripple who is well known in the district for his playing of the musical bow, which he frequently does for dances. The words sung by this cripple player are most indistinct, as he has no teeth. The tune is used in the Kazori dance performed in lines in front of the drums, girls in a double line and boys in another double line behind. The lines keep time with the music and leap and move to left and right together. Kazori dance song for men and women, with Ndono one string musical bow and tin rattle (-12,54-).
- Full Text: false
- Date Issued: 1950
- Authors: Ntainta Buchili with Sukuma men and women , Hugh Tracey
- Date: 1950
- Subjects: Nyamwezi (African people) , Sukuma (African people) , Folk songs, Sukuma , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwanza f-tz
- Language: Nyamwezi , Sukuma
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/173504 , vital:42378 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR151-09
- Description: The player is a cripple who is well known in the district for his playing of the musical bow, which he frequently does for dances. The words sung by this cripple player are most indistinct, as he has no teeth. The tune is used in the Kazori dance performed in lines in front of the drums, girls in a double line and boys in another double line behind. The lines keep time with the music and leap and move to left and right together. Kazori dance song for men and women, with Ndono one string musical bow and tin rattle (-12,54-).
- Full Text: false
- Date Issued: 1950
Nigwa kolilila kaoma (I hear the beating of drums behind the hill)
- Ntainta Buchili with Sukuma men and women, Hugh Tracey
- Authors: Ntainta Buchili with Sukuma men and women , Hugh Tracey
- Date: 1950
- Subjects: Nyamwezi (African people) , Sukuma (African people) , Folk songs, Sukuma , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwanza f-tz
- Language: Nyamwezi , Sukuma
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/173495 , vital:42377 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR151-08
- Description: The player is a cripple who is well known in the district for his playing of the musical bow, which he frequently does for dances. The words sung by this cripple player are most indistinct, as he has no teeth. The tune is used in the Kazori dance performed in lines in front of the drums, girls in a double line and boys in another double line behind. The lines keep time with the music and leap and move to left and right together. Kazori dance song for men and women, with Ndono one string musical bow and tin rattle (-12,54-).
- Full Text: false
- Date Issued: 1950
- Authors: Ntainta Buchili with Sukuma men and women , Hugh Tracey
- Date: 1950
- Subjects: Nyamwezi (African people) , Sukuma (African people) , Folk songs, Sukuma , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwanza f-tz
- Language: Nyamwezi , Sukuma
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/173495 , vital:42377 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR151-08
- Description: The player is a cripple who is well known in the district for his playing of the musical bow, which he frequently does for dances. The words sung by this cripple player are most indistinct, as he has no teeth. The tune is used in the Kazori dance performed in lines in front of the drums, girls in a double line and boys in another double line behind. The lines keep time with the music and leap and move to left and right together. Kazori dance song for men and women, with Ndono one string musical bow and tin rattle (-12,54-).
- Full Text: false
- Date Issued: 1950
From song to literary texts : a study of the influence of isiXhosa lyrics on selected isiXhosa texts
- Authors: Dlepu, Siziwe Everrette
- Date: 2009
- Subjects: Xhosa (African people) -- Songs and music -- Texts , Folk songs, Xhosa -- South Africa , Xhosa (African people) -- Music , Xhosa -- Music
- Language: English
- Type: Thesis , Doctoral , DPhil
- Identifier: vital:8460 , http://hdl.handle.net/10948/943 , Xhosa (African people) -- Songs and music -- Texts , Folk songs, Xhosa -- South Africa , Xhosa (African people) -- Music , Xhosa -- Music
- Description: Songs play a vital role in the everyday life of the AmaXhosa. Each and every occasion or gathering is accompanied by singing. Their anger or pain, sorrow or joy is reflected in their singing. Although these songs are composed for social purposes and entertainment, they are also educational. Songs may be composed and sung to comment on political affairs, complain against the abuse of power by the authorities, declare war, protest, praise a hero, encourage working together and ridicule the foolishness of someone. Vocabulary and diction used in the composition of these songs, relays the message in a clever and witty style. Since the AmaXhosa are intellectuals, irony and satire are used. The satirical or ironical songs hide the meaning and the listener must unravel the real meaning. AmaXhosa singing, chanting and dancing is accompanied by instruments. These instruments add more rhythm to the dance.The AmaXhosa use anything at their disposal when carving their instruments. Their songs may be accompanied by the beating of cow-hide drums, blowing of reed-pipe whistles, animal horns, beating of sticks and hand-clapping. The most important instrument the AmaXhosa use is the human voice. They are experts in humming, gruff singing and whistling. The songs of the AmaXhosa encourage togetherness. When one composes a song, one does not express one’s own feelings, but also the feelings of the community. The AmaXhosa songs are about participation so group singing and dancing is encouraged. Everyone participates either by singing, dancing or clapping. x Respect is the central core of the AmaXhosa songs. That is why the songs are composed according to age groups and sex. Instruments are also used according to ages and sex. Written texts are also a tool to educate the reader. The writers have decided to include songs in their writings to act as a form of entertainment and education. Although some songs lack the hallmarks of a traditional song, they communicate the idea or relay the message the writer wants to convey to the reader. Terms: Mock enconuim, the grotesque and the principle of beautiful deformity, anaphoric construction, diction and connotation, authorial comments, the mask-persona form, usurping of authority and reduction of traditional status.
- Full Text:
- Date Issued: 2009
From song to literary texts : a study of the influence of isiXhosa lyrics on selected isiXhosa texts
- Authors: Dlepu, Siziwe Everrette
- Date: 2009
- Subjects: Xhosa (African people) -- Songs and music -- Texts , Folk songs, Xhosa -- South Africa , Xhosa (African people) -- Music , Xhosa -- Music
- Language: English
- Type: Thesis , Doctoral , DPhil
- Identifier: vital:8460 , http://hdl.handle.net/10948/943 , Xhosa (African people) -- Songs and music -- Texts , Folk songs, Xhosa -- South Africa , Xhosa (African people) -- Music , Xhosa -- Music
- Description: Songs play a vital role in the everyday life of the AmaXhosa. Each and every occasion or gathering is accompanied by singing. Their anger or pain, sorrow or joy is reflected in their singing. Although these songs are composed for social purposes and entertainment, they are also educational. Songs may be composed and sung to comment on political affairs, complain against the abuse of power by the authorities, declare war, protest, praise a hero, encourage working together and ridicule the foolishness of someone. Vocabulary and diction used in the composition of these songs, relays the message in a clever and witty style. Since the AmaXhosa are intellectuals, irony and satire are used. The satirical or ironical songs hide the meaning and the listener must unravel the real meaning. AmaXhosa singing, chanting and dancing is accompanied by instruments. These instruments add more rhythm to the dance.The AmaXhosa use anything at their disposal when carving their instruments. Their songs may be accompanied by the beating of cow-hide drums, blowing of reed-pipe whistles, animal horns, beating of sticks and hand-clapping. The most important instrument the AmaXhosa use is the human voice. They are experts in humming, gruff singing and whistling. The songs of the AmaXhosa encourage togetherness. When one composes a song, one does not express one’s own feelings, but also the feelings of the community. The AmaXhosa songs are about participation so group singing and dancing is encouraged. Everyone participates either by singing, dancing or clapping. x Respect is the central core of the AmaXhosa songs. That is why the songs are composed according to age groups and sex. Instruments are also used according to ages and sex. Written texts are also a tool to educate the reader. The writers have decided to include songs in their writings to act as a form of entertainment and education. Although some songs lack the hallmarks of a traditional song, they communicate the idea or relay the message the writer wants to convey to the reader. Terms: Mock enconuim, the grotesque and the principle of beautiful deformity, anaphoric construction, diction and connotation, authorial comments, the mask-persona form, usurping of authority and reduction of traditional status.
- Full Text:
- Date Issued: 2009