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Mitamba yalagala kumchuzi Part I

Mshatulo kwenda ovyo

Chansi cha nzige

Hongahonga lele

Hongahonga lele

Mjinga Masikiyo Uzibe

Uchaucha kina mama

Chansi cha nzige

Chansi cha nzige

  • Authors: Pembe Selemani and Zaramo young men , Hugh Tracey
  • Date: 1950
  • Subjects: Nyakyusa (African people) , Zaramo (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Dar-es-Salaam f-tz
  • Language: Nyakyusa , Zaramo
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/175399 , vital:42572 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR158-14
  • Description: "Locusts come in groups like the seven stars (the Pleiades). If you want to taste sugar cane you should eat it." Each player playes one flute only, except the treble who holds 3 loose pipes. The embouchure of the flutes is cut a double angle, the shorter side being pressed to the lower lip. The players stand in a circle and follow each others pipes after the fashion of bell ringers. The tuning was as follows:- 584, 520, 440, 392, 336, 292. Giving a pentatonic scale. The total range was just over two octaves. Pipe dance, with Viyanzi verticle flute, 2 fiction sticks (-12.61-) and tin rattles (-12.54-).
  • Full Text: false
  • Date Issued: 1950

Chansi cha nzige

Chansi Cha Nzige

Hongahonga lele

Hongahonga Lele

Hongahonga lele

  • Authors: Pembe Selemani and Zaramo boys , Hugh Tracey
  • Date: 1950
  • Subjects: Nyakyusa (African people) , Zaramo (African people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Tanzania Dar-es-Salaam f-tz
  • Language: Nyakyusa , Zaramo
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/175410 , vital:42573 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR158-15
  • Description: The players start to play begining with the pipe 3rd from the lowest. Each piper above then takes his rhythm from the next man below. If one fails to get started he holds up all the others above. The leader then comes along and gets his rhythm for him and his companions can then take up the rhythm until the treble player at last joins in. Set of 13 pipes. The tuning of this set was as follows:- 584, 520, 440, 392, 336, 292. Giving a pentatonic scale. The total range was just over two octaves. Mbeta pipe dance, with Viyanzi vertical flutes, 2 friction sticks (-12.61-) and tin rattles (-12.54-).
  • Full Text: false
  • Date Issued: 1950

Hongahonga lele

Hongahonga lele

Ilonge Flute Tune

  • 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/10962/175273 , vital:42559 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR158-05
  • 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

Ilonge Flute Tune

  • 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

Ilonge Flute Tune

  • 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/10962/175251 , vital:42557 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR158-03
  • 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

Ilonge Flute Tune

  • 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/10962/175164 , vital:42549 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR158-01
  • 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.
  • Full Text: false
  • Date Issued: 1950
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