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Dada Mwajuma nifichie siri yangu mpenzi

- Chipukizi Rumba, Hugh Tracey

  • Authors: Chipukizi Rumba , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwanza f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179595 , vital:43122 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR170-05
  • Description: "Keep it secret, my love Mwajuma. What we did yesterday is known. Tell mother only, because she is kind. Do not tell father or I will be thrashed." This cheerful noise made by a band of youngsters is typical of he bands found in the small towns of Tanganyika who cannot afford the common run of European dance instruments and make do with whistles. kazoos and anything that comes handy. Swahili Rumbas with 2 Banjos, 1 Mandoline, 2 bass drums, 1 conical drum, laced, 2 kazoos, 2 whistles and a flute.
  • Full Text: false
  • Date Issued: 1950

Nimepata mpenzi, mtoto mdogo, mzuri simwachi (I have found my love, a beautiful girl)

- Chipukizi Rumba, Hugh Tracey

  • Authors: Chipukizi Rumba , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwanza f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179604 , vital:43123 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR170-06
  • Description: This tune, an adaptation of a South American type of rumba, is perhaps the most popular of all town dance songs at the present time (1950) being sung in all the tons of Tanganyika and on the island of Zanzibar. The young men playing this version of the song did not know the words and sanf 'ia-la-la' instead. Swahili Rumbas with 2 Banjos, 1 Mandoline, 2 bass drums, 1 conical drum, laced, 2 kazoos, 2 whistles and a flute.
  • Full Text: false
  • Date Issued: 1950

Hayo ni maradhi (Chaupela mpenzi)

- Chipukizi Rumba, Hugh Tracey

  • Authors: Chipukizi Rumba , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Mwanza f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179613 , vital:43124 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR170-07
  • Description: A typical local band from the African quarter of any Tanganyika townships of the early 1950's. Nobody plays quite in tune but that does not worry the audiences or more especially the players themselves. They pick up their melodies from each other and from gramphone records and a dozen or more variations of the same song can be found throughout the country. Swahili Rumbas with 2 Banjos, 1 Mandoline, 2 bass drums, 1 conical drum, laced, 2 kazoos, 2 whistles and a flute.
  • Full Text: false
  • Date Issued: 1950

Pemba ina siri

- Egyptian musical club, Hugh Tracey

Hijazai Bashraf

- Egyptian musical club, Hugh Tracey

  • Authors: Egyptian musical club , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Dar-es-Salaam f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179514 , vital:43073 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR169-14
  • Description: Taarab is the name given to an air after the Arab style composed and played Swahili musicians. The name of the club does not reflect its origin which is entirely local and composed of Swahili men all living in Dar-es-Salaam. The Arab 'Oud' is locally called 'Udi'. Instrumental Air, with 1 Oud (Arabic guitar), 3 violins, 1 Mandoline, 1 Kayamba flat grass rattle, 1 earthern ware drum, Damba, 1 Duff tambourine.
  • Full Text: false
  • Date Issued: 1950

Mahaba, jamani, yananiatile

- Egyptian musical club, Hugh Tracey

  • Authors: Egyptian musical club , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Dar-es-Salaam f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179523 , vital:43074 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR169-15
  • Description: Abbas Haji was the singer of this song composed by the gifted player Bom Amberon. "I am distrought with love, I can neither see by day nor sleep by night. In whom shall I confide my two years' longing. Who will tell me how my heart might find repose. Love song, with 2 Udi, 1 Cello, 1 mandoline, 1 Dambak, 1 Kayamba rattle, and 3 violas.
  • Full Text: false
  • Date Issued: 1950

Irimba variations

- Hasani Bin Mariye, Hugh Tracey

  • Authors: Hasani Bin Mariye , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Zanzibar f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179974 , vital:43285 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR171-11
  • Description: A pretty little instrument of Makua origin from the northern end of Mozambique, one of many brought into Zanzibar by migrant labourers. The instrument is unlike most Mbira in that the metal notes are bent at right angles and pierced into the body of the reasoning box at one end, thus doing away with the neccessity for straining bar and bridge. The notes must therefore be tuned by filing and not as with other Mbira by lengthening or shortening. Irimba solo with Irimba x 7 notes
  • Full Text: false
  • Date Issued: 1950

Mawaidha

- Kaluta Amir Bin Abedi, Hugh Tracey

  • Authors: Kaluta Amir Bin Abedi , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Kigoma f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179415 , vital:43061 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR169-05
  • Description: "With the name of the Lord I should begin. And with his name I should finish. That I may compose them evenly with good things exultingly." Much of the Mashairi poetry, they say, is religious in nature. The African authors demonstrate the extent to which Arab culture has penetrated along the old trade routes. The speaker was fluent in Arabic and his Swahili appears to be more 'classical' than usual. Mashairi sung poems
  • Full Text: false
  • Date Issued: 1950

Dua

- Kaluta Amir Bin Abedi, Hugh Tracey

Dua

- Kaluta Amir Bin Abedi, Hugh Tracey

Dawa mziwanda kula,kula upata afia

- Kaluta Amri Bin Abedi, Hugh Tracey

Dawa mziwanda kula,kula upata afia

- Kaluta Amri Bin Abedi, Hugh Tracey

Mahaba

- Kaluta Amri Bin Abedi, Hugh Tracey

  • Authors: Kaluta Amri Bin Abedi , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Kigoma f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179442 , vital:43064 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR169-08
  • Description: "What awakens love, is fair and kind. When the heart's seed is touched. How wondorous sweet and how it burns. He loves not foolishly who loves the giver. The Mashairi poem gives greater scope for love poetry than the usual African song. Short poem revealing an interesting side of the African poet's mind. Mashairi sung poem
  • Full Text: false
  • Date Issued: 1950

Mpenzi wangu kusafiri gani?

- Moshi Ufunguo and his party, Hugh Tracey

  • Authors: Moshi Ufunguo and his party , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Tabora f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179577 , vital:43120 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR170-03
  • Description: The leader is well knon in Tabora as a cafe entertainer particularly for his humorous interjections - he starts by introducing himself by name. The record was made in a small room which serves as a club and opens out directly onto the street. The small xylophone was said to have come from the other side of Lake Tanganyika in the Congo from the Manyema people. Many members of Congo tribes have migrated into Tanganyika across the lake on account of the trade by the railway to coast used first by the Arabs and later by the railway to Dar-es-Salaam. The sons of these men who still claim to be tribesmen of the Congo were born in Tanganyika and speak and sing only in Swahili. The style is not local and perhaps originates in the Albertville region of Southern Congo. The tone of voice of these cafe singers is typical of those whose major payment is in kind, whic after a while blurs the edge of their voices and their performances. Humorous song, with Malimba xylophone x 8 and Basket rattle.
  • Full Text: false
  • Date Issued: 1950

Bwana Moshi ufunguo nakupa wasia

- Moshi Ufunguo and his party, Hugh Tracey

  • Authors: Moshi Ufunguo and his party , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Tabora f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179586 , vital:43121 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR170-04
  • Description: The leader is well knon in Tabora as a cafe entertainer particularly for his humorous interjections - he starts by introducing himself by name. The record was made in a small room which serves as a club and opens out directly onto the street. The small xylophone was said to have come from the other side of Lake Tanganyika in the Congo from the Manyema people. Many members of Congo tribes have migrated into Tanganyika across the lake on account of the trade by the railway to coast used first by the Arabs and later by the railway to Dar-es-Salaam. The sons of these men who still claim to be tribesmen of the Congo were born in Tanganyika and speak and sing only in Swahili. The style is not local and perhaps originates in the Albertville region of Southern Congo. The tone of voice of these cafe singers is typical of those whose major payment is in kind, whic after a while blurs the edge of their voices and their performances. Humorous song, with Malimba xylophone x 8 and Basket rattle.
  • Full Text: false
  • Date Issued: 1950

Tukulanga

- Mzee Juma with Shirazi men, Hugh Tracey

  • Authors: Mzee Juma with Shirazi men , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Zanzibar f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179938 , vital:43252 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR171-07
  • Description: The player takes some time to get into his rhythm. The first tune was played ith the instrument on the ground, the first fingers striking the notes downwards. The second tune was played with the instrument between the palms and plucked with the thumbs in the more usual manner. Instrumental tune, Marimba Madongo.
  • Full Text: false
  • Date Issued: 1950

Hindu yamsegesa

- Mzee Juma with Shirazi men, Hugh Tracey

Kisonge

- Mzee Juma with Shirazi men, Hugh Tracey

  • Authors: Mzee Juma with Shirazi men , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Zanzibar f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179947 , vital:43253 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR171-08
  • Description: The player takes some time to get into his rhythm. The first tune was played ith the instrument on the ground, the first fingers striking the notes downwards. The second tune was played with the instrument between the palms and plucked with the thumbs in the more usual manner. Instrumental tune, Marimba Madongo.
  • Full Text: false
  • Date Issued: 1950

Kitungule changu

- Mzee Juma with Shirazi men, Hugh Tracey

  • Authors: Mzee Juma with Shirazi men , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Zanzibar f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179965 , vital:43279 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR171-10
  • Description: "My onion."Like the French who sometimes call their lovers "little cabbage" the Swahili also frequently refer to their beloved as a vegetable such as an 'onion', or 'corn con' or other food studd. Most instruments of this kind are brought to the island of Zanzibar by migrant labourers. It was known what tribal orign the Kidebe may have had. Ndebe dance song with Kidebe Mbira and Kayambi tin rattle.
  • Full Text: false
  • Date Issued: 1950

Salumu sambusa

- Omari Saidi with Swahili men, Hugh Tracey

  • Authors: Omari Saidi with Swahili men , Hugh Tracey
  • Date: 1950
  • Subjects: Folk music--Africa , Folk music--Tanzania , Swahili-speaking peoples , Field recordings , Africa, Sub-Saharan , Africa Tanzania Zanzibar f-tz
  • Language: Swahili
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/179929 , vital:43251 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR171-05
  • Description: The Mkwaju dance is popular, they say, amongst the more African element of this Swahili population which also shows a tendency towards Arabian and sometimes to Indian music. The population of the island is complex and consists of representatives of several East African tribes in addition to Arab, Indian and Shirazi peoples, and their offspring of mixed marriages. The effect in terms of musical performances is equally complex without unanimity, a phenomena found in other communities of mixed tribal and national marriages. The xylophone is being used as a rhythmic and not as a melodic bass. As the singers wander away from the pitch set by the instrument and pay little or no regard to it. From the style of singing it is suspected that the melody comes from the coastal regions further south from the Makua people of Mozambique - No confirmation of this suggestion could be obtained largely on account of the fact that the performers were second or third generation of mixed marriages on the island. Mkwaju dance song for men, with Marimba xylophone box rattle (-12.61-) and 2 friction sticks (-12.61-).
  • Full Text: false
  • Date Issued: 1950
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