Showing items 1 - 12 of 12

Performing whiteness; representing otherness : Hugh Tracey and African music

- Coetzee, Paulette June

  • Authors: Coetzee, Paulette June
  • Date: 2015
  • Subjects: Tracey, Hugh , Music -- Africa , International Library of African Music , Ethnomusicology -- Africa , Ethnomusicologists -- South Africa
  • Language: English
  • Type: Thesis , Doctoral , PhD
  • Identifier: vital:2327 , http://hdl.handle.net/10962/d1016502
  • Description: This thesis provides a critical study of texts associated with Hugh Tracey (1903–1977). Tracey is well-known for his work in African music studies, particularly for his major contribution to the recorded archive of musical sound in sub-Saharan Africa and his founding of the International Library of African Music (ILAM) in 1954. My reading of him is informed by a postcolonial perspective, whiteness studies and African scholarship on ways in which constructions of African identity and tradition have been shaped by the colonial archive. In my view, Tracey was part of a mid-twentieth century movement which sought to marshal positive representations of traditional African culture in the interest of maintaining and strengthening colonial rule. While his recording project may have fostered inclusion through creating spaces for indigenous musicians to be heard, it also functioned to promote racist exclusion in the manner of its production, distribution and claims to expertise. Moreover, his initial strategy for ILAM’s sustainability targeted colonial government and industry as primary clients, with the promise that promoting traditional music as a means of entertainment and self-expression for black subjects and workers would ease administration and reduce conflict. I believe that it is important to acknowledge and interrogate the problematic racial attitudes and practices associated with the history of Tracey’s archive – not to undermine its significance in any way but to allow it to be better understood and used more productively in the future.
  • Full Text:
  • Date Issued: 2015

Ndano 1979

- Venancio Mbande and his group of 25, Tracey, Andrew T N

Ndano 1979

- Venancio Mbande and his group of 25, Tracey, Andrew T N

Ndano 1979

- Venancio Mbande and his group of 25, Tracey, Andrew T N

Msitso wokata. 1st Movement (1st Introduction)

- Ngodo of Mavila, Shambini, Tracey, Hugh

  • Authors: Ngodo of Mavila , Shambini , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Zavala f-mz
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/190342 , vital:44985 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR198-01
  • Description: This is the first of a set of 5 Msitso or oechestral introductions, all of them composed by Shambini, the leader of the village orchestra or Ngodo. 0m. 51s. Solo introduction or Cadenza, Kunigeta. 0m. 56s. Msitso starts. The Ngodo of Mavila composed entirely by Shambini consists of these 13 movements:- Five Msitso introductions followed by (6) Ndano, (7) Ngeniso, (8) Chidanawana, (9) Shibudu, (10) Mzeno, (11) Msumeto, (12) Mabandla, and (13) the closing Msitso. This last Msitso being a repeat of the first Msitso has not been featured on the discs for lack of space. Tuning: 496, 456, 412, (368), 372, 336, 308, 276, 248 vs. The note 368 vs. was cracked and went flat. In spite of Shambini's attempt to correct it by thinning the ends, it proved too badly broken and was exchanged for a more taken from another Timbila (372 vs). Orchestral introductions with 6 Timbila xylophones, 4 Sanzhi (alto), 1 Debiinda (bass), 1 Gulu (double bass) and 1 Njele (rattle).
  • Full Text: false
  • Date Issued: 1963

Ndano. 6th Movement

- Ngodo of Mavila, Shambini, Tracey, Hugh

  • Authors: Ngodo of Mavila , Shambini , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Zavala f-mz
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/190501 , vital:45000 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR198-07
  • Description: In this case, the Ndano movement comes before Ngeniso which appears to be unusual. There were 16 dancers and they took their 'call' while away to one side. The order and style of movements is decided by the leader of the orchestra and the leader of the dancers between them and varies from village to village. The words of the verses which underkie this movement are not heard in this recording but only the Tokozela exclamations and cries. Orchestral dance with 6 Timbila, 4 Sanzhe, 1 Debiinda, 1 Gulu and 1 rattle.
  • Full Text: false
  • Date Issued: 1963

Ndano movement of the Ngodo of Filipe Banguza, 1952

- Komukomu and men from Banguza, Komukomu, Tracey, Hugh

Ndano movement

- Chopi performers (Performers), Komukomu (Composer), Hugh Tracey

Mdindo Movement Kaula mbango wa vakoma

- Zandamela, Fomeni, Men and boys at Zandamela, Tracey, Hugh

  • Authors: Zandamela, Fomeni , Men and boys at Zandamela , Tracey, Hugh
  • Date: 1949
  • Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Kanda f-mz
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/194624 , vital:45470 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR207-07
  • Description: This Mdindo is one of the five movements of the Ngalanga dance for young Chopi boys. They follow an abbreviated pattern of the senior dance, the Ngodo, but with several distinctive characteristics such as the liberal use of drums. The movements in this case were:- 1. Msitso, 2. Ngeniso, 3. Ndano, 4. Mdindo, 5. Msitso wo Gwitisa. In the song which accompanies this movement the Chief Machatini is said to have given orders that the Ngalanga should not be danced to during the week. The young boys did not obey him so he was very angry, called them together and whipped their leader. The song was subsequently composed about this painful event. Dance song for Ngalanga dance, young peoples dance, with 3 treble Timbila xylophones, and three drums (-14.41-).
  • Full Text: false
  • Date Issued: 1949

3rd Movement "Ndano" Mahungwa a Filipe

- Komukomu wa Simbi (Leader), Tracey, Hugh

  • Authors: Komukomu wa Simbi (Leader) , Tracey, Hugh
  • Date: 1943
  • Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Zavala f-mz
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/194951 , vital:45513 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR209-15
  • Description: This Msitso, orchestral introductions to the Ngodo dance are fine examples of the classical style of starting the performance. Each Msitso is composed as pure music without a lyric base and Komukomu who dies in 1962 was a master of his craft, both as leader of his orchestra and a composer for over 30 years (See "Chopi Musicians" page 39). "Mahungwa a Filipe". The full text of the lyric and translation are on Pages 40 to 42 of "Chopi Musicians." For lack of his dancers to sing the lyric, Komukomu, who never pretended to having a voice, had to sing the words himself. Orchestral dance with six Timbila xylophones.
  • Full Text: false
  • Date Issued: 1943

Ndano Part 1

- Nyasaland Yao Tribe, Composer not specified, Tracey, Hugh

Ndano Part 2

- Nyasaland Yao Tribe, Composer not specified, Tracey, Hugh

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