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Ambila baBemba na baLamba

- Group of Lulua soilders and women, Hugh Tracey

Bana twai musalemba

- Kayoka Ladislas and group of Luba men, Hugh Tracey

Bena kasai ba kalenga balala nenyema pamwe

- Group of Lulua soilders and women, Hugh Tracey

Bikunda kabichena kusela

- Kalonji Marcel, Hugh Tracey

Bilumbu

- Luba/Hemba men and women, Hugh Tracey

  • Authors: Luba/Hemba 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 Kongolo f-cg
  • Language: Luba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/183977 , vital:44104 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR183-11
  • Description: The singers of this item had come north, down the Lualaba river ans were over 400 miles from their home in Kongolo, near the junction of the Lualaba with its tributory which drains the overflow flood waters from Lake Tanganyika. This simple repetitive song is similar to many others associated with divination - the repititions in themselves exercising a kind of hypnotic effect suited to teh occassion. Song and dance for herbalist or diviner, with 2 goblet drums, with mirlitons and closed, and rattles (-12.54-)
  • Full Text: false
  • Date Issued: 1952

Chamukumai

- Group of Lulua soilders and women, Hugh Tracey

  • Authors: Group of Lulua soilders and women , Hugh Tracey
  • Date: 1952
  • Subjects: Folk music--Africa , Luba (African people) , Field recordings , Africa, Sub-Saharan , Africa Congo (Democratic Republic) Luluabourg f-rh
  • Language: Luba
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/182182 , vital:43807 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR178-01
  • Description: The Chisanzhi Mbira is the traditional type of the district: the basket rattle is a well-known woven article with a handle; the rattles had wooden handles and an open work basket head with beer bottle tops inside. The bottle is a common percussion instrument among the Lulua and the singing gourd is the favourite instrument of women's choirs in southern Congo into which they sing, lip or hum notes related to the fundamenta; note of the gourd. The somewhat strange sound of the singing gourd is the first heard at approximately 1m:30s from the start of this song. Maringa dance with Chisanzhi Mbira, two pairs of rattles, basket rattle, singing gourd bottle and clapping
  • Full Text: false
  • Date Issued: 1952

Chibemba

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

Chihibalumuna bembi

- Louis Mulowa and Lunda men, Hugh Tracey

Chila twachinda naba matombo

- Children of the Mindola African school, Hugh Tracey

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
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