Kebali
- Banani Kone (composer, performer, arranger), Nalini, Mamani Keita, Bintou Camara (chorus), Dominique Sablier (piano), Raphael Chossin (drums), Julio (bass guitar), Mouriba Koita, Fousseni Kouyate (N'goni), Moussa Kone, Djelikedjan, Yacou (cora), Oumar Dagon, Moussa Kouyate, Partrick (guitars), Kerfala Kante (arranger), Eric Bono
- Authors: Banani Kone (composer, performer, arranger) , Nalini, Mamani Keita, Bintou Camara (chorus) , Dominique Sablier (piano) , Raphael Chossin (drums) , Julio (bass guitar) , Mouriba Koita, Fousseni Kouyate (N'goni) , Moussa Kone, Djelikedjan, Yacou (cora) , Oumar Dagon, Moussa Kouyate, Partrick (guitars) , Kerfala Kante (arranger) , Eric Bono
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000 , Africa Mali Souther Region f-ml
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/${Handle} , vital:36029 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDCO5-06
- Description: Malian modern band, solo female vocalist and chorus sing accompanied by N'goni, cora, guitar, piano and drums
- Full Text: false
- Date Issued: 2000
- Authors: Banani Kone (composer, performer, arranger) , Nalini, Mamani Keita, Bintou Camara (chorus) , Dominique Sablier (piano) , Raphael Chossin (drums) , Julio (bass guitar) , Mouriba Koita, Fousseni Kouyate (N'goni) , Moussa Kone, Djelikedjan, Yacou (cora) , Oumar Dagon, Moussa Kouyate, Partrick (guitars) , Kerfala Kante (arranger) , Eric Bono
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000 , Africa Mali Souther Region f-ml
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/${Handle} , vital:36029 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDCO5-06
- Description: Malian modern band, solo female vocalist and chorus sing accompanied by N'goni, cora, guitar, piano and drums
- Full Text: false
- Date Issued: 2000
Kounandi
- Banani Kone (composer, performer, arranger), Nalini, Mamani Keita, Bintou Camara (chorus), Dominique Sablier (piano), Raphael Chossin (drums), Julio (bass guitar), Mouriba Koita, Fousseni Kouyate (N'goni), Moussa Kone, Djelikedjan, Yacou (cora), Oumar Dagon, Moussa Kouyate, Partrick (guitars), Kerfala Kante (arranger), Eric Bono
- Authors: Banani Kone (composer, performer, arranger) , Nalini, Mamani Keita, Bintou Camara (chorus) , Dominique Sablier (piano) , Raphael Chossin (drums) , Julio (bass guitar) , Mouriba Koita, Fousseni Kouyate (N'goni) , Moussa Kone, Djelikedjan, Yacou (cora) , Oumar Dagon, Moussa Kouyate, Partrick (guitars) , Kerfala Kante (arranger) , Eric Bono
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000 , Africa Mali Souther Region f-ml
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127631 , vital:36028 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDCO5-05
- Description: Malian modern band, solo female vocalist and chorus sing accompanied by N'goni, cora, guitar, piano and drums
- Full Text: false
- Date Issued: 2000
- Authors: Banani Kone (composer, performer, arranger) , Nalini, Mamani Keita, Bintou Camara (chorus) , Dominique Sablier (piano) , Raphael Chossin (drums) , Julio (bass guitar) , Mouriba Koita, Fousseni Kouyate (N'goni) , Moussa Kone, Djelikedjan, Yacou (cora) , Oumar Dagon, Moussa Kouyate, Partrick (guitars) , Kerfala Kante (arranger) , Eric Bono
- Date: 2000
- Subjects: Popular music , Popular music--Mali--1991-2000 , Africa Mali Souther Region f-ml
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/127631 , vital:36028 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDCO5-05
- Description: Malian modern band, solo female vocalist and chorus sing accompanied by N'goni, cora, guitar, piano and drums
- Full Text: false
- Date Issued: 2000
Composition Portfolio
- Authors: Bessey, Warren Gregory
- Date: 2023-04-10
- Subjects: Composition (Music) , Zulu (African people) Songs and music , Music Cross-cultural studies , uMkabayi kaJama , Nandi , Nobility South Africa Zululand History
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/404940 , vital:70123
- Description: Excerpt from Introduction: My interest in the Zulu royal family intensified as I began to read many stories and have lengthy conversations with members of the Zulu royal family and others, including Dr Maxwell Shamase (University of Zululand), about Zulu history. I was struck by the power and prowess of Princess Mkabayi (1750-1843). The elders were said to be speechless when she spoke. According to Shamase, a common Zulu expression which references Mkabayi’s well-known verbal skill is Umuntu ukhuluma kome umlomo, and translates as [like Mkabayi] the speaker speaks clearly and leaves no room for misunderstandings and misinterpretations. I found her to be a brilliant strategist with a servant heart and one whom history had not given due credit, and I was inspired to bring her story to life by setting it to music. I wanted to explore whether or not the events surrounding Mkabayi led to a change of consciousness among the Zulu nation, and I used this as a theme for my symphonic work about her. The lives of Queen Nandi (King Shaka’s mother) and Princess Mkabayi (King Shaka’s aunt) made for fascinating stories I had been privileged to discover, and I felt they were South African treasures to be elevated and shared with the world. The two works listed above form part of my repertoire based on Zulu royal history which are collectively known as “The Royal Trilogy,” and I have come to think of them as part of a developing “urban classical repertoire”. The Royal Trilogy is a set of three compositions with 33 independent scenes linking historical events and people. It includes the following entitled symphonic works for full orchestra: Nandi iNdlovukazi yezi Ndlovukazi (hereinafter “Queen Nandi”), Inkosazane Mkabayi (hereinafter “Princess Mkabayi”), and iNkosi uShaka: Umbono, Isizwe, Isiphetho - King Shaka: A Vision, A Nation, A Destiny (hereinafter “King Shaka”). Nandi premiered on 22 September 2016 as part of “A Musical Tribute Celebrating 200 Years of the Zulu Monarchy,” and “Mkabayi” premiered on 6 September 2018 under a programme titled “Princess Mkabayi: Celebrating Heritage Month”. Both pieces were performed at the Durban City Hall by the KwaZulu-Natal Philharmonic Orchestra with a mass Zulu choir (combination of the Clermont Community Choir, Prince Mshiyeni Choir, and Thokozani Choral Society) for socio-economic and ethnically diverse audiences. The final work, “King Shaka,” is expected to premiere in 2023. A future adaption of the Royal Trilogy is envisioned as an Afro Fusion Contemporary Ballet. , Thesis (MMus) -- Faculty of Humanities, Music & Musicology, 2023
- Full Text:
- Date Issued: 2023-04-10
- Authors: Bessey, Warren Gregory
- Date: 2023-04-10
- Subjects: Composition (Music) , Zulu (African people) Songs and music , Music Cross-cultural studies , uMkabayi kaJama , Nandi , Nobility South Africa Zululand History
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/404940 , vital:70123
- Description: Excerpt from Introduction: My interest in the Zulu royal family intensified as I began to read many stories and have lengthy conversations with members of the Zulu royal family and others, including Dr Maxwell Shamase (University of Zululand), about Zulu history. I was struck by the power and prowess of Princess Mkabayi (1750-1843). The elders were said to be speechless when she spoke. According to Shamase, a common Zulu expression which references Mkabayi’s well-known verbal skill is Umuntu ukhuluma kome umlomo, and translates as [like Mkabayi] the speaker speaks clearly and leaves no room for misunderstandings and misinterpretations. I found her to be a brilliant strategist with a servant heart and one whom history had not given due credit, and I was inspired to bring her story to life by setting it to music. I wanted to explore whether or not the events surrounding Mkabayi led to a change of consciousness among the Zulu nation, and I used this as a theme for my symphonic work about her. The lives of Queen Nandi (King Shaka’s mother) and Princess Mkabayi (King Shaka’s aunt) made for fascinating stories I had been privileged to discover, and I felt they were South African treasures to be elevated and shared with the world. The two works listed above form part of my repertoire based on Zulu royal history which are collectively known as “The Royal Trilogy,” and I have come to think of them as part of a developing “urban classical repertoire”. The Royal Trilogy is a set of three compositions with 33 independent scenes linking historical events and people. It includes the following entitled symphonic works for full orchestra: Nandi iNdlovukazi yezi Ndlovukazi (hereinafter “Queen Nandi”), Inkosazane Mkabayi (hereinafter “Princess Mkabayi”), and iNkosi uShaka: Umbono, Isizwe, Isiphetho - King Shaka: A Vision, A Nation, A Destiny (hereinafter “King Shaka”). Nandi premiered on 22 September 2016 as part of “A Musical Tribute Celebrating 200 Years of the Zulu Monarchy,” and “Mkabayi” premiered on 6 September 2018 under a programme titled “Princess Mkabayi: Celebrating Heritage Month”. Both pieces were performed at the Durban City Hall by the KwaZulu-Natal Philharmonic Orchestra with a mass Zulu choir (combination of the Clermont Community Choir, Prince Mshiyeni Choir, and Thokozani Choral Society) for socio-economic and ethnically diverse audiences. The final work, “King Shaka,” is expected to premiere in 2023. A future adaption of the Royal Trilogy is envisioned as an Afro Fusion Contemporary Ballet. , Thesis (MMus) -- Faculty of Humanities, Music & Musicology, 2023
- Full Text:
- Date Issued: 2023-04-10
Composition portfolio
- Boesack, Lenrick Jonathan Angus
- Authors: Boesack, Lenrick Jonathan Angus
- Date: 2017
- Subjects: Piano music , Prepared piano music , Saxophone music
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/56233 , vital:26786
- Description: This short composition portfolio comprises 40% of the requirements for the Master of Music Degree in performance and composition at Rhodes University. In addition to the music presented here, I played two public exam recitals of 70 minutes each. While I played piano as a child, my main instrument during my BMUS studies at the University of Cape Town (2004-2007) was the saxophone. In 2010 I was diagnosed with Polymyositis(an auto-immune desease) which particularly affected my breathing and therefore my ability to play the saxophone. For this reason I opted to play my recitals on the piano. The first recital focused on interpretations of Swing Era, Bebop and post-Bebop standards such as: Someday my prince will come, What is this thing called love, In your own sweet way, Eternal Triangle, Recordame, Peace, Dolphin Dance, Caravan and Some other blues. The second recital comprised of seven original compositions that were presented in trio, quartet and quintet settings.
- Full Text:
- Date Issued: 2017
- Authors: Boesack, Lenrick Jonathan Angus
- Date: 2017
- Subjects: Piano music , Prepared piano music , Saxophone music
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/56233 , vital:26786
- Description: This short composition portfolio comprises 40% of the requirements for the Master of Music Degree in performance and composition at Rhodes University. In addition to the music presented here, I played two public exam recitals of 70 minutes each. While I played piano as a child, my main instrument during my BMUS studies at the University of Cape Town (2004-2007) was the saxophone. In 2010 I was diagnosed with Polymyositis(an auto-immune desease) which particularly affected my breathing and therefore my ability to play the saxophone. For this reason I opted to play my recitals on the piano. The first recital focused on interpretations of Swing Era, Bebop and post-Bebop standards such as: Someday my prince will come, What is this thing called love, In your own sweet way, Eternal Triangle, Recordame, Peace, Dolphin Dance, Caravan and Some other blues. The second recital comprised of seven original compositions that were presented in trio, quartet and quintet settings.
- Full Text:
- Date Issued: 2017
Be alright
- Botha, Karika (Recorded by), Sesotho women choir (Performer), Composer not specified
- Authors: Botha, Karika (Recorded by) , Sesotho women choir (Performer) , Composer not specified
- Subjects: Shongoane village , Lephalale , Transvaal (Limpopo) , South Africa , Religious music , Church music , Choral
- Language: English
- Type: Music , Sound
- Identifier: vital:15635 , JKC17a-06 , http://hdl.handle.net/10962/d1008824 , Tape number: JKC17 , Original tape number: 17 , Track number: 06
- Description: Unaccompanied church song , Refer to last page of Jaco Kruger recording card book II
- Full Text: false
- Authors: Botha, Karika (Recorded by) , Sesotho women choir (Performer) , Composer not specified
- Subjects: Shongoane village , Lephalale , Transvaal (Limpopo) , South Africa , Religious music , Church music , Choral
- Language: English
- Type: Music , Sound
- Identifier: vital:15635 , JKC17a-06 , http://hdl.handle.net/10962/d1008824 , Tape number: JKC17 , Original tape number: 17 , Track number: 06
- Description: Unaccompanied church song , Refer to last page of Jaco Kruger recording card book II
- Full Text: false
Wake up
- Botha, Karika (Recorded by), Sesotho creche child (Performer), Composer unknown
- Authors: Botha, Karika (Recorded by) , Sesotho creche child (Performer) , Composer unknown
- Subjects: Shongoane village -- Lephalale -- Transvaal (Limpopo) -- South Africa , Poem , Recitation
- Language: English
- Type: Music , Sound
- Identifier: vital:16074 , JKC17a-20 , http://hdl.handle.net/10962/d1009263 , Tape number: JKC17 , Original tape number: 17 , Track number: 20
- Description: Recited poem by a creche child , Refer to last page of Jaco Kruger recording card book II
- Full Text: false
- Authors: Botha, Karika (Recorded by) , Sesotho creche child (Performer) , Composer unknown
- Subjects: Shongoane village -- Lephalale -- Transvaal (Limpopo) -- South Africa , Poem , Recitation
- Language: English
- Type: Music , Sound
- Identifier: vital:16074 , JKC17a-20 , http://hdl.handle.net/10962/d1009263 , Tape number: JKC17 , Original tape number: 17 , Track number: 20
- Description: Recited poem by a creche child , Refer to last page of Jaco Kruger recording card book II
- Full Text: false
I'll be missing you
- Botha, Karika (Recorded by), Sesotho children (Performer), Composer unknown
- Authors: Botha, Karika (Recorded by) , Sesotho children (Performer) , Composer unknown
- Subjects: Shongoane village , Lephalale , Transvaal (Limpopo) , South Africa , Pop song with a religious character
- Language: English
- Type: Music , Sound
- Identifier: vital:16067 , JKC17b-23 , http://hdl.handle.net/10962/d1009256 , Tape number: JKC17 , Original tape number: 17 , Track number: 23
- Description: Unaccompanied pop song sung by children , Refer to last page of Jaco Kruger recording card book II
- Full Text: false
- Authors: Botha, Karika (Recorded by) , Sesotho children (Performer) , Composer unknown
- Subjects: Shongoane village , Lephalale , Transvaal (Limpopo) , South Africa , Pop song with a religious character
- Language: English
- Type: Music , Sound
- Identifier: vital:16067 , JKC17b-23 , http://hdl.handle.net/10962/d1009256 , Tape number: JKC17 , Original tape number: 17 , Track number: 23
- Description: Unaccompanied pop song sung by children , Refer to last page of Jaco Kruger recording card book II
- Full Text: false
Sweet Jesus
- Botha, Karika (Recorded by), Sesotho women choir (Performer), Composer not specified
- Authors: Botha, Karika (Recorded by) , Sesotho women choir (Performer) , Composer not specified
- Subjects: Shongoane village , Lephalale , Transvaal (Limpopo) , South Africa , Religious music , Church music , Choral
- Language: English
- Type: Music , Sound
- Identifier: vital:15784 , JKC17a-16 , http://hdl.handle.net/10962/d1008973 , Tape number: JKC17 , Track number: 16 , Original tape number: 17
- Description: Unaccompanied religious choral Sesotho song , Refer to last page of Jaco Kruger recording card book II
- Full Text: false
- Authors: Botha, Karika (Recorded by) , Sesotho women choir (Performer) , Composer not specified
- Subjects: Shongoane village , Lephalale , Transvaal (Limpopo) , South Africa , Religious music , Church music , Choral
- Language: English
- Type: Music , Sound
- Identifier: vital:15784 , JKC17a-16 , http://hdl.handle.net/10962/d1008973 , Tape number: JKC17 , Track number: 16 , Original tape number: 17
- Description: Unaccompanied religious choral Sesotho song , Refer to last page of Jaco Kruger recording card book II
- Full Text: false
In the bible
- Botha, Karika (Recorded by), Sesotho children (Performer), Composer not specified
- Authors: Botha, Karika (Recorded by) , Sesotho children (Performer) , Composer not specified
- Subjects: Shongoane village , Lephalale , Transvaal (Limpopo) , South Africa , Religious music , Church song , Choral
- Language: English
- Type: Music , Sound
- Identifier: vital:16078 , JKC17b-15 , http://hdl.handle.net/10962/d1009267 , Tape number: JKC17 , Original tape number: 17 , Track number: 15
- Description: Unaccompanied religious choral Sesotho song , Refer to last page of Jaco Kruger recording card book II
- Full Text: false
- Authors: Botha, Karika (Recorded by) , Sesotho children (Performer) , Composer not specified
- Subjects: Shongoane village , Lephalale , Transvaal (Limpopo) , South Africa , Religious music , Church song , Choral
- Language: English
- Type: Music , Sound
- Identifier: vital:16078 , JKC17b-15 , http://hdl.handle.net/10962/d1009267 , Tape number: JKC17 , Original tape number: 17 , Track number: 15
- Description: Unaccompanied religious choral Sesotho song , Refer to last page of Jaco Kruger recording card book II
- Full Text: false
Red Clay
- Boubacar N'Dour, Prince Charles Alexander, Youssou N'Dour (written by), Youssou N'Dour (vocal), Habib Faye (bass), Manu Katche (drums), Jimi Mbaye, Pape Oumar Ngom (guitar), Babacar Faye (Senegalese percussion), Jerome Lemmier (keyboards, arranger, programmer), Assane Thiam (sabar talking drum), Pierre Bianchi
- Authors: Boubacar N'Dour, Prince Charles Alexander, Youssou N'Dour (written by) , Youssou N'Dour (vocal) , Habib Faye (bass) , Manu Katche (drums) , Jimi Mbaye, Pape Oumar Ngom (guitar) , Babacar Faye (Senegalese percussion) , Jerome Lemmier (keyboards, arranger, programmer) , Assane Thiam (sabar talking drum) , Pierre Bianchi
- Date: 2000
- Subjects: Rhythm and blues music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: English , Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130534 , vital:36434 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC44-04
- Description: Fusion of Senegalese desert music and Western rhythm and blues
- Full Text: false
- Date Issued: 2000
- Authors: Boubacar N'Dour, Prince Charles Alexander, Youssou N'Dour (written by) , Youssou N'Dour (vocal) , Habib Faye (bass) , Manu Katche (drums) , Jimi Mbaye, Pape Oumar Ngom (guitar) , Babacar Faye (Senegalese percussion) , Jerome Lemmier (keyboards, arranger, programmer) , Assane Thiam (sabar talking drum) , Pierre Bianchi
- Date: 2000
- Subjects: Rhythm and blues music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: English , Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130534 , vital:36434 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC44-04
- Description: Fusion of Senegalese desert music and Western rhythm and blues
- Full Text: false
- Date Issued: 2000
She doesn't need to fall
- Boubacar N'Dour, Prince Charles Alexander, Youssou N'Dour (written by), Youssou N'Dour (vocal), Habib Faye (bass), Manu Katche (drums), Jimi Mbaye, Pape Oumar Ngom (guitar), Babacar Faye (Senegalese percussion), Jerome Lemmier (keyboards, arranger, programmer), Assane Thiam (sabar talking drum), Pierre Bianchi
- Authors: Boubacar N'Dour, Prince Charles Alexander, Youssou N'Dour (written by) , Youssou N'Dour (vocal) , Habib Faye (bass) , Manu Katche (drums) , Jimi Mbaye, Pape Oumar Ngom (guitar) , Babacar Faye (Senegalese percussion) , Jerome Lemmier (keyboards, arranger, programmer) , Assane Thiam (sabar talking drum) , Pierre Bianchi
- Date: 2000
- Subjects: Rhythm and blues music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: English , Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130519 , vital:36433 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC44-03
- Description: Fusion of Senegalese desert music and Western rhythm and blues
- Full Text: false
- Date Issued: 2000
- Authors: Boubacar N'Dour, Prince Charles Alexander, Youssou N'Dour (written by) , Youssou N'Dour (vocal) , Habib Faye (bass) , Manu Katche (drums) , Jimi Mbaye, Pape Oumar Ngom (guitar) , Babacar Faye (Senegalese percussion) , Jerome Lemmier (keyboards, arranger, programmer) , Assane Thiam (sabar talking drum) , Pierre Bianchi
- Date: 2000
- Subjects: Rhythm and blues music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: English , Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/130519 , vital:36433 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC44-03
- Description: Fusion of Senegalese desert music and Western rhythm and blues
- Full Text: false
- Date Issued: 2000
Were you there?
- Boys at Dombashawa School in Salisbury, Performer not specified, Composer not specified, Tracey, Hugh
- Authors: Boys at Dombashawa School in Salisbury , Performer not specified , Composer not specified , Tracey, Hugh
- Date: 1949
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe city not specified f-rh
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/393858 , vital:68911 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , AC0854-C6F4
- Description: Indigenous music
- Full Text: false
- Date Issued: 1949
- Authors: Boys at Dombashawa School in Salisbury , Performer not specified , Composer not specified , Tracey, Hugh
- Date: 1949
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe city not specified f-rh
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/393858 , vital:68911 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , AC0854-C6F4
- Description: Indigenous music
- Full Text: false
- Date Issued: 1949
Where shall I be when the firs' trumpet soun'
- Boys at Domboshava School, Performer not specified, Composer not specified, Tracey, Hugh
- Authors: Boys at Domboshava School , Performer not specified , Composer not specified , Tracey, Hugh
- Date: 1949
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe city not specified f-rh
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/393852 , vital:68910 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , ACO854-C6F3
- Description: Indigenous music
- Full Text: false
- Date Issued: 1949
- Authors: Boys at Domboshava School , Performer not specified , Composer not specified , Tracey, Hugh
- Date: 1949
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe city not specified f-rh
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/393852 , vital:68910 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , ACO854-C6F3
- Description: Indigenous music
- Full Text: false
- Date Issued: 1949
The Government Agent
- Boys at St. Mark's Mapanza, Performer not specified, A.W. Jones, Tracey, Hugh
- Authors: Boys at St. Mark's Mapanza , Performer not specified , A.W. Jones , Tracey, Hugh
- Date: 1948
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zambia city not specified f-za
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/367055 , vital:65935 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , AC0191-AW1
- Description: Indigenous music
- Full Text: false
- Date Issued: 1948
- Authors: Boys at St. Mark's Mapanza , Performer not specified , A.W. Jones , Tracey, Hugh
- Date: 1948
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zambia city not specified f-za
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/367055 , vital:65935 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , AC0191-AW1
- Description: Indigenous music
- Full Text: false
- Date Issued: 1948
The jazz divas an analysis of the musical careers of six New Brighton vocalists
- Authors: Butete, Netsayi
- Date: 2012
- Subjects: Jazz musicians -- Research -- South Africa -- Port Elizabeth Ethnomusicology -- Research -- South Africa Sex discrimination against women -- South Africa Sex discrimination in employment -- South Africa Apartheid -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2633 , http://hdl.handle.net/10962/d1002298
- Description: There has been insufficient academic research on the music of the Eastern Cape in general and Port Elizabeth and New Brighton in particular. This study, as part of the International Library of African Music (ILAM)lRed Location Museum Music History Project (ILAMIRLMHP) - an oral history intervention to save the music history of New Brighton from extinction through research and documentation of the memories of veteran musicians - is focused on jazz vocalists. The primary objective of my study is to investigate, critically analyze, interpret and document the career experiences of six New Brighton jazz vocalists in the context of performing in the Port Elizabeth music industry during the apartheid and the post-apartheid eras. The secondary objectives are to stimulate research interests in music students and ethnomusicologists to pursue research on the music of Port Elizabeth and the Eastern Cape and to inspire and motivate the vocalists to continue making music with renewed zeal. A qualitative research paradigm informed the field research necessary for this study. The fieldwork paved the way for an eclectic framework of analysis grounded in Pierre Bourdieu's notions of habitus, field and capital, examining the impact of the context on the vocalists' habitus which influenced how they viewed and interpreted their past and current experiences in the performance field. Data obtained through extensive interviewing of New Brighton's contemporary female vocalists and their male counterparts revealed that they have no opportunity to make commercial recordings. The musicians have to migrate to Johannesburg to have successful music careers, although personality politics, greed and lack of professionalism also work against the musicians' success. The data shows that New Brighton musicians, both male and female, do not have enough performance opportunities and there are fewer chances to tour now than there were from the 1960s through the 1980s. As in the apartheid era, female vocalists are still discriminated against in terms of pay, and men discriminate in how they pay other male musicians. Analysis of the vocalists' jazz compositions revealed that their song lyrics depict a bona fide urban African culture and reflect the emotional needs of the society in which they live.
- Full Text:
- Date Issued: 2012
- Authors: Butete, Netsayi
- Date: 2012
- Subjects: Jazz musicians -- Research -- South Africa -- Port Elizabeth Ethnomusicology -- Research -- South Africa Sex discrimination against women -- South Africa Sex discrimination in employment -- South Africa Apartheid -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2633 , http://hdl.handle.net/10962/d1002298
- Description: There has been insufficient academic research on the music of the Eastern Cape in general and Port Elizabeth and New Brighton in particular. This study, as part of the International Library of African Music (ILAM)lRed Location Museum Music History Project (ILAMIRLMHP) - an oral history intervention to save the music history of New Brighton from extinction through research and documentation of the memories of veteran musicians - is focused on jazz vocalists. The primary objective of my study is to investigate, critically analyze, interpret and document the career experiences of six New Brighton jazz vocalists in the context of performing in the Port Elizabeth music industry during the apartheid and the post-apartheid eras. The secondary objectives are to stimulate research interests in music students and ethnomusicologists to pursue research on the music of Port Elizabeth and the Eastern Cape and to inspire and motivate the vocalists to continue making music with renewed zeal. A qualitative research paradigm informed the field research necessary for this study. The fieldwork paved the way for an eclectic framework of analysis grounded in Pierre Bourdieu's notions of habitus, field and capital, examining the impact of the context on the vocalists' habitus which influenced how they viewed and interpreted their past and current experiences in the performance field. Data obtained through extensive interviewing of New Brighton's contemporary female vocalists and their male counterparts revealed that they have no opportunity to make commercial recordings. The musicians have to migrate to Johannesburg to have successful music careers, although personality politics, greed and lack of professionalism also work against the musicians' success. The data shows that New Brighton musicians, both male and female, do not have enough performance opportunities and there are fewer chances to tour now than there were from the 1960s through the 1980s. As in the apartheid era, female vocalists are still discriminated against in terms of pay, and men discriminate in how they pay other male musicians. Analysis of the vocalists' jazz compositions revealed that their song lyrics depict a bona fide urban African culture and reflect the emotional needs of the society in which they live.
- Full Text:
- Date Issued: 2012
It's ok with my "bebee' in the train
- Bweupe, Agnes, 3 friends of Agnes Bweupe, Composer unknown, Tracey, Hugh
- Authors: Bweupe, Agnes , 3 friends of Agnes Bweupe , Composer unknown , Tracey, Hugh
- Date: 1957-07-18
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Zambia City not specified f-za
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/242209 , vital:51012 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT504-L126 , Research no. L2X10
- Description: A party song about reaching paradise by train with the singers "bebee"(baby).
- Full Text: false
- Date Issued: 1957-07-18
- Authors: Bweupe, Agnes , 3 friends of Agnes Bweupe , Composer unknown , Tracey, Hugh
- Date: 1957-07-18
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Zambia City not specified f-za
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/242209 , vital:51012 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT504-L126 , Research no. L2X10
- Description: A party song about reaching paradise by train with the singers "bebee"(baby).
- Full Text: false
- Date Issued: 1957-07-18
Piano Medley IV
- Charlie Kunz, Composer not specified, Tracey, Hugh
- Authors: Charlie Kunz , Composer not specified , Tracey, Hugh
- Date: 0000-00-00
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa Country not specified City not specified f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/206311 , vital:47009 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR0783 , Research no. DR10025
- Description: Piano rhythm music
- Full Text: false
- Date Issued: 0000-00-00
- Authors: Charlie Kunz , Composer not specified , Tracey, Hugh
- Date: 0000-00-00
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa Country not specified City not specified f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/206311 , vital:47009 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR0783 , Research no. DR10025
- Description: Piano rhythm music
- Full Text: false
- Date Issued: 0000-00-00
Piano Medley III
- Charlie Kunz, Composer not specified, Tracey, Hugh
- Authors: Charlie Kunz , Composer not specified , Tracey, Hugh
- Date: 0000-00-00
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa Country not specified City not specified f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/206295 , vital:47006 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR0783 , Research no. DR10024
- Description: Piano rhythm music
- Full Text: false
- Date Issued: 0000-00-00
- Authors: Charlie Kunz , Composer not specified , Tracey, Hugh
- Date: 0000-00-00
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa Country not specified City not specified f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/206295 , vital:47006 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR0783 , Research no. DR10024
- Description: Piano rhythm music
- Full Text: false
- Date Issued: 0000-00-00
Piano Medley V
- Charlie Kunz, Composer not specified, Tracey, Hugh
- Authors: Charlie Kunz , Composer not specified , Tracey, Hugh
- Date: 0000-00-00
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa Country not specified City not specified f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/206333 , vital:47011 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR0784 , Research no. DR9907A
- Description: Piano rhythm music
- Full Text: false
- Date Issued: 0000-00-00
- Authors: Charlie Kunz , Composer not specified , Tracey, Hugh
- Date: 0000-00-00
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa Country not specified City not specified f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/206333 , vital:47011 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR0784 , Research no. DR9907A
- Description: Piano rhythm music
- Full Text: false
- Date Issued: 0000-00-00
Piano Medley I
- Charlie Kunz, Composer not specified, Tracey, Hugh
- Authors: Charlie Kunz , Composer not specified , Tracey, Hugh
- Date: 0000-00-00
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa Country not specified City not specified f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/206258 , vital:47002 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR0781 , Research no. DR10236A
- Description: Piano Rhymic music
- Full Text: false
- Date Issued: 0000-00-00
- Authors: Charlie Kunz , Composer not specified , Tracey, Hugh
- Date: 0000-00-00
- Subjects: Popular music--Africa , Dance music , Dance music--Caribbean Area , Field recordings , Africa, Sub-Saharan , Africa Country not specified City not specified f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/206258 , vital:47002 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , CR0781 , Research no. DR10236A
- Description: Piano Rhymic music
- Full Text: false
- Date Issued: 0000-00-00