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Mabandhla. 12th Movement

  • Authors: Ngodo of Regulo 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 Mavila f-mz
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/191296 , vital:45080 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR199-04
  • Description: During this movement, pairs of dancers come out in turn from either end of the line and dance pas de deux front of the Timbila players until all have finished. Then the song is sung to finish the movement. "Good day Siliva, chief of Misawa! You, Siliva, you will never get a flgpole. You will be very poor. We are tired of cutting down mitowi trees." Siliva is the name of the present Chief Mavila. Orchestral dance with 6 Timbila xylophones, 4 Sanzhe (Alto), 1 Debiinda (Bass), 1 Gulu (Double Bass).
  • Full Text: false
  • Date Issued: 1963

Menzo. 10th Movement

  • Authors: Ngodo of Regulo 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 Mavila f-mz
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/191278 , vital:45078 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR199-02
  • Description: "The affairs, affairs of the chief. The partfidge will call, or another bird will sing. Ya, ya, la, la. Why is Ronwani so happy? because of the inheritance, because he will be chief. Masane weeps tears, Ya, ya, la, la. Abinele and Silive, headman of Mavila, are both well. Come all of you, you people, come and hear the orders, the instructions how to plough, to get corn in your lands. Ya, la, la, la. We men are being turned into women. Look at father Silive, he was called but refused to come! His mother, Zavale, did not allow him! Ya, la, la, la, la. All you people of Gaza, listen to this wonderful Mzeno of Timbilas." Orchestral dance with 6 Timbila xylophones, 4 Sanzhe (Alto), 1 Debiinda (Bass), 1 Gulu (Double Bass) and 1 Njele rattle.
  • Full Text: false
  • Date Issued: 1963

Msumeto. 11th Movement

  • Authors: Ngodo of Regulo 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 Mavila f-mz
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/191287 , vital:45079 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR199-03
  • Description: In this movement the line of dancers retreats away from the orchestra back to its original position some ten paces away. "They will kill me, mother Nyavoto. They will kill me, mother Nyavoto. Because of my cotton fields." His cotton was growing better than those of the others. Orchestral dance with 6 Timbila xylophones, 4 Sanzhe (Alto), 1 Debiinda (Bass), 1 Gulu (Double Bass).
  • Full Text: false
  • Date Issued: 1963

Ngeniso

  • Authors: Shambini , Tracey, Hugh
  • Date: 1963
  • Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Mavila f-mz
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/191316 , vital:45084 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR199-05
  • Description: Experiment in analytical recording. a. Right hand - 0m. 18s. b. Both hands. 0m. 31s. c. Left hand. 0m. 38s. d. Both hands. 0m. 53s. e. Up the instrument. 1m. 04s. f. Right hand. 1m. 15s. g. Both hands. 1m. 22s. h. Left hand. 1m. 27s. i. Both hands. 1m. 35s. j. Down the instrument. 1m. 43s. k. Right hand. 1m. 56s. l. Both hands. 2m. 06s. m. Left hand. 2m. 15s. n. Both hands. 2m. 27s. o. End. 2m. 42s. Calisto Zavala, a chopi xylophone player working near the library in South Africa found this recording very interesting and remarked that the analysis wouls be very helpful in learning to play this Ngeniso. Orchestral dance (left and right hand analysis) with 1 Timbila xylophone.
  • Full Text: false
  • Date Issued: 1963

Shibudu. 9th Movement

The Ngodo of Regulo Mavila

1. Mzeno and Mtsumeto

  • Authors: Komukomu waSimbi (Leader) , Tracey, Hugh
  • Date: 1949
  • Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Mavila f-mz
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/194680 , vital:45480 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR208-01
  • Description: This new Mzeno of Komukomu is most unusual in that he has combined it with the Msumeto, the 'advance' Mzeno, with the 'retreat' Mtsumeto. It was composed in 1948. The melodies or counter subjects sung by the dancers are particularly pleasing and illustrate the wide musical potential of this form of passcaglia. The change from Mzeno to Mtsumeto occurs at 3m. 59s. from the start of the item. Komukomu was never afraid of innovations, and this was one of them. The fact that it did not last long and he reverted to the more usual form of separate Mzeno and Mtsumeto would indicate that it was not considered altogether satisfactory as a device. This item was recorded at the neighbouring village of Mavila. Two movements of orchestral dance with Timbila xylophones.
  • Full Text: false
  • Date Issued: 1949

Chitewetewe

Hingani buthandini

  • Authors: Chambini waMakasa (Leader) , Tracey, Hugh
  • Date: 1949
  • Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Mavila f-mz
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/194689 , vital:45481 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR208-02
  • Description: Composed by the good player and maker of Timbila at the time working at the Robinson mine in Johannesburg. Hi is frequently called upon from all over Chopiland to compose new tunes for the Timbila orchestras, like the famous Katini wa Nyamombe Zavala, who died in 1948. This Mzeno was played in the absence of the composer. Chambini was already an outstanding player and composer of promise and by 1963 was leading performer of the Zavala district. His compositions lack the clarity of melody of either Katini or Komukomu, but are much appreciated by Chopi players. Orchestral dance with Timbila xylophones.
  • Full Text: false
  • Date Issued: 1949

Mzeno Lawanani michanja

  • Authors: Komukomu waSimbi (Leader) , Tracey, Hugh
  • Date: 1949
  • Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Mavila f-mz
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/194662 , vital:45475 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR207-11
  • Description: This Mzeno, composed in 1940, was first recorded in Durban on 21st November 1943 when I took 6 Chopi musicians from their homes to demonstrate their music in that city. This group included the two famous leaders and composers, Katini and Komukomu's early Mzeno was, at my special request, performed again. It did not appeal to me to be quite the same as the original recording in Durban so I asked Komukomu why this was so. He suggested that it might be because he sometimes played it in a different key. He thereupon played it again and both versions were recorded, the one (CP-6) in the same key as the 1943 version and the other (CP-7) a third (307 cents) lower. This proves that in their scale it is possible to change mode or key without too much distortion and both versions are reproduced here for comparision with the original recording which is to be found on TR-209. Since no recourse to a written notation is, or was, possible to the players their three versions are of great musicological importance. It will be noted that the singers do not necessarily sing the same verses or in the same order as in the original, which is printed in my Chopi musicians page 34. The scale of Komukomu's Timbila xylophone an alto Sange was:- 496, 448, 404, 364, 328, 296, 272, 248 vs. Orchestral dance with 16 Timbila xylophones.
  • Full Text: false
  • Date Issued: 1949

Mzeno Lawanani michanja (Transposed one third lower)

  • Authors: Komukomu waSimbi (Leader) , Tracey, Hugh
  • Date: 1949
  • Subjects: Folk music--Africa , Music--Mozambique , Folk songs, Chopi , Chopi (African people) , Field recordings , Africa, Sub-Saharan , Africa Mozambique Mavila f-mz
  • Language: Chopi
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/194671 , vital:45476 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR207-12
  • Description: The verses sung by the dancers in their own village are not quite the same as those I first wrote down and published in "Chopi Musicians". It emphasies the point that verses may be dropped or others added during the lifetime of the song. There is no rule to say that a lyric shall always be sung as at first composed. The leader can 'call' what verses he pleases. Orchestral dance with 16 Timbila xylophones.
  • Full Text: false
  • Date Issued: 1949
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