Showing items 61 - 80 of 101

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Dyibwe dyambule kabanda

- Kayoka Ladislaus, with Kapungo Isidore and Beya Marcel (Likembe players), Hugh Tracey

Eyi mwana kaloto

- French Chikunji and Luunda men, Hugh Tracey

Eyi nambela yakwalwena

- French Chikunyi and group of Lunda men and women, Hugh Tracey

Fila I

- Group of Luba Men, Hugh Tracey

Fila II

- Group of Luba Men, Hugh Tracey

Kabamba mucheso

- Kabundji Nioka and Senga Louis with Songe, Hugh Tracey

Kabange

- Group of Luba men and women, Hugh Tracey

  • Authors: Group of Luba men and women , Hugh Tracey
  • Date: 1952
  • Subjects: Folk music--Africa , Luba (African people) , Field recordings , Africa, Sub-Saharan , Africa Congo (Democratic Republic) Kinkondje f-rh
  • Language: Luba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/181991 , vital:43788 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR177-09
  • Description: The four drummers were the chief singers together with their women. Malimba 2 xylophones, on frames without resonators.. 3 goblet drums, once called Itumba and the others Mutumbwe. The Itumba drum was a closed drum with a mirliton fixed into its side, 20" high and with 12 1/2" membrane. The Mutumbwe drums were both weighted with paste to lower their pitch, and had similar mirlitons. The large slit drum, Kunri, was insulated from the ground as it had no legs. In this respect the slit drums behave physically like a xylophone note and must be supported at the two nodes or they will not sound properly. Budye dance, with 2 xylophones, 3 conical drums and 1 slit drum
  • Full Text: false
  • Date Issued: 1952

Kalamba wa badya

- Kayoka Ladislas and group of Luba men, Hugh Tracey

Kalenda wa muchombela

- Kankolongo Alidor, Hugh Tracey

  • Authors: Kankolongo Alidor , Hugh Tracey
  • Date: 1952
  • Subjects: Folk music--Africa , Luba (African people) , Field recordings , Africa, Sub-Saharan , Africa Congo (Democratic Republic) Kasai f-rh
  • Language: Luba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/182593 , vital:43845 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR178-13
  • Description: The Likembe was rested on a guitar which acted as a resonator and the rhythm was tapped out on the body of the guitar. As it stands the instrument appears to be pentatonic but reference to other examples shows that the scale played is in fact hexatonic one note being absent from this assembly. Topical song with Chisanzhi Likembe
  • Full Text: false
  • Date Issued: 1952

Kanenga

- Louis Mulowa, Hugh Tracey

  • Authors: Louis Mulowa , Hugh Tracey
  • Date: 1952
  • Subjects: Folk music--Africa , Luba (African people) , Ruund (African people) , Field recordings , Africa, Sub-Saharan , Africa Zambia Mwinilunga f-za
  • Language: Lunda , Luba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/182985 , vital:43900 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR179-14
  • Description: A player was sorry when his friend finished his food so he sat down to sing to his Chisanzhi Mbira. It is not easy to understand the relationships between the pitch of the instrument and the pitch of the players voice. It appears to be consistant and must therefore bear some relationship in his mind. The scale of his Chisanzhi was:- 424, 380, 344, 304, 280, 266, 232, 212 vs. The tips of the players fingers were constantly moist and sticky and he kept a supply of dry sand beside him to rub on his finger tips before playing. Personal laments, with Chizanzhi Mbira
  • Full Text: false
  • Date Issued: 1952

Kasadi ugandu

- Kankolongo Alidor, Hugh Tracey

  • Authors: Kankolongo Alidor , Hugh Tracey
  • Date: 1952
  • Subjects: Folk music--Africa , Luba (African people) , Field recordings , Africa, Sub-Saharan , Africa Congo (Democratic Republic) Kasai f-rh
  • Language: Luba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/182604 , vital:43846 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR178-14
  • Description: The Likembe was rested on a guitar which acted as a resonator and the rhythm was tapped out on the body of the guitar. As it stands the instrument appears to be pentatonic but reference to other examples shows that the scale played is in fact hexatonic one note being absent from this assembly. Topical song with Chisanzhi Likembe
  • Full Text: false
  • Date Issued: 1952

Katela I

- Kasai men and women, Hugh Tracey

  • Authors: Kasai men and women , Hugh Tracey
  • Date: 1952
  • Subjects: Folk music--Africa , Luba (African people) , Field recordings , Africa, Sub-Saharan , Africa Congo (Democratic Republic) Kasai f-rh
  • Language: Luba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/181950 , vital:43783 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR177-04
  • Description: This song and the accompanying dance is performed when there is a death in the village. Katela is the generic name of this type of dance song. A number of clapping rhythms occur in these songs including:- //1, ; 3, 4, ; 6, 7, ,//. Katela funeral dance with 2 drums, conical, pegged, single, open
  • Full Text: false
  • Date Issued: 1952

Katela II

- Kasai men and women, Hugh Tracey

  • Authors: Kasai men and women , Hugh Tracey
  • Date: 1952
  • Subjects: Folk music--Africa , Luba (African people) , Field recordings , Africa, Sub-Saharan , Africa Congo (Democratic Republic) Kasai f-rh
  • Language: Luba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/181959 , vital:43784 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR177-05
  • Description: This song and the accompanying dance is performed when there is a death in the village. Katela is the generic name of this type of dance song. A number of clapping rhythms occur in these songs including:- //1, ; ; 4, ; 6, ; 7, ,//. Katela funeral dance with 2 drums, conical, pegged, single, open
  • Full Text: false
  • Date Issued: 1952

Katela III

- Kasai men and women, Hugh Tracey

  • Authors: Kasai men and women , Hugh Tracey
  • Date: 1952
  • Subjects: Folk music--Africa , Luba (African people) , Field recordings , Africa, Sub-Saharan , Africa Congo (Democratic Republic) Kasai f-rh
  • Language: Luba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/181964 , vital:43785 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR177-06
  • Description: This song and the accompanying dance is performed when there is a death in the village. Katela is the generic name of this type of dance song. A number of clapping rhythms occur in these songs including:- //1, 2, 3, ; 5, ; 7, ,//. Katela funeral dance with 2 drums, conical, pegged, single, open
  • Full Text: false
  • Date Issued: 1952

Kemai I

- Kayoka Ladislas with Kankolongo Alidor, Hugh Tracey

Kemai II

- Kankolongo Alidor, Hugh Tracey

  • Authors: Kankolongo Alidor , Hugh Tracey
  • Date: 1952
  • Subjects: Folk music--Africa , Luba (African people) , Field recordings , Africa, Sub-Saharan , Africa Congo (Democratic Republic) Kasai f-rh
  • Language: Luba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/182615 , vital:43847 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR178-15
  • Description: "Two people had an argument. The rest came to find out what the trouble was, whereupon one left, leaving the other talking into space, at which they all said "what's the matter with him?" Kemai appears to be a common title for a piece of music, though they are not necessarily similar to each other. Only further research could elucidate this point. Topical song with Chisanzhi Likembe
  • Full Text: false
  • Date Issued: 1952

Kemai III

- Kankolongo Alidor, Hugh Tracey

  • Authors: Kankolongo Alidor , Hugh Tracey
  • Date: 1952
  • Subjects: Folk music--Africa , Luba (African people) , Field recordings , Africa, Sub-Saharan , Africa Congo (Democratic Republic) Kasai f-rh
  • Language: Luba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/182620 , vital:43848 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR178-16
  • Description: "Two people had an argument. The rest came to find out what the trouble was, whereupon one left, leaving the other talking into space, at which they all said "what's the matter with him?" Kemai appears to be a common title for a piece of music, though they are not necessarily similar to each other. Only further research could elucidate this point. Topical song with Chisanzhi Likembe
  • Full Text: false
  • Date Issued: 1952

Ketu hunyinga

- Group of Luba men and women, Hugh Tracey

  • Authors: Group of Luba men and women , Hugh Tracey
  • Date: 1952
  • Subjects: Folk music--Africa , Luba (African people) , Field recordings , Africa, Sub-Saharan , Africa Congo (Democratic Republic) Kinkondje f-rh
  • Language: Luba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/181986 , vital:43787 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR177-08
  • Description: The four drummers were the chief singers together with their women. Malimba 2 xylophones, on frames without resonators.. 3 goblet drums, once called Itumba and the others Mutumbwe. The Itumba drum was a closed drum with a mirliton fixed into its side, 20" high and with 12 1/2" membrane. The Mutumbwe drums were both weighted with paste to lower their pitch, and had similar mirlitons. The large slit drum, Kunri, was insulated from the ground as it had no legs. In this respect the slit drums behave physically like a xylophone note and must be supported at the two nodes or they will not sound properly. Budye dance, with 2 xylophones, 3 conical drums and 1 slit drum
  • Full Text: false
  • Date Issued: 1952

Kia Mwangala kia yanamatumbe

- Group of 12 Luba men and women, Hugh Tracey

  • Authors: Group of 12 Luba men and women , Hugh Tracey
  • Date: 1952
  • Subjects: Folk music--Africa , Songs, Luba-Lulua , Luba (African people) , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Kolwezi f-cg
  • Language: Luba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/183958 , vital:44089 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR183-09
  • Description: Drums. Kayanda - conical, open, pegged and weighted (-14.2-). Mitumbwe - goblet, pinned, closed and weighted (-14.52-). Ditumba - goblet, pinned, closed, mirliton (-14.51251-). The drums enter one after the other and end in the same way. The difference in tone between the weighted and the unweighted membranes of the drums can be clearly heard - the weighted drums being both lower in tone and also emitting a slightly slurred or portamento tone, while the unweighted drum sounds a clear hollow note. Katendo dance, with 2 Goblet drums, pegged, closed and hand beaten, and 1 conical drum, pegged, open, and hand beaten
  • Full Text: false
  • Date Issued: 1952

Kufidi mpara bituta

- Eresina and Kasai women, Hugh Tracey

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