These recordings were made by Hiromi Lorraine Sakata and Tom Sakata between August 1966 and July 1967 in Afghanistan. They are excerpted from several larger field recording collections deposited at the UW Ethnomusicology Archives in Seattle. In the early 1970s Hiromi Lorraine Sakata published excerpts from these recordings on two LPs with Lyrichord (LLST 7230 and LLST LLST 7231). These LPs are out of print so we have republished them here. Liner available here: https://ia802800.us.archive.org/3/items/lp_folk-music-of-afghanistan-vol-1_various/lp_folk-music-of-afghanistan-vol-1_various.pdf More about Hiromi Lorraine Sakata's collections:  https://guides.lib.uw.edu/archives/sakata

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Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Folk Music of Afghanistan, Vol. 1

The UW Libraries Ethnomusicology Archives is home to the Kearney Barton Collection. We'll be uploading audio from his collection to this Soundcloud site as time and rights permit. For more information about the collection, check out this page: tinyurl.com/uwlibs-barton


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Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Kearney Barton Collection

The UW Libraries is home to the Burt Porter Collection. We'll be uploading audio from his collection to this Soundcloud site as time and rights permit. For more information about the collection, check out this page: tinyurl.com/uwlibs-porter

Burt Porter Collection

Vi Hilbert (1918-2008) was a member and noted elder of the Upper Skagit tribe.  Her first language was Lushootseed, a Coast Salish language found in the Puget Sound region of western Washington state.  During her long and productive life, Vi Hilbert played a major role in the revitalization of the language and culture of the First People of the Pacific Northwest.  She became known as a teacher, storyteller, publisher, and public speaker.  For over 40 years she built and maintained a research archive of cultural materials.  Working with other scholars, she developed and published teaching materials and volumes of stories through Lushootseed Research, an organization which she founded.  Her commitment to preserving Lushootseed language and literature is largely responsible for the renaissance of interest in Lushootseed culture and the growth of tribal language programs all over western Washington.

This playlist offers selections from the Vi Hilbert Collection, UW Libraries Ethnomusicology Archives: http://bela.music.washington.edu/ethno/hilbert/
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Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Vi Hilbert Collection

UW Ethnomusicology Archives concert recordings: Balamuralikrishna (audio), 1979-10-11

Performers: Dr. M. Balamuralikrishna/voice; Sri Annavarupu Ramaswamy/violin; Sri Tanjore Upendran/mridangam; Smt. B. Abhayambika/(electric) tambura.

Tapes digitized 3/2016 (WAV, 48 kHz, 24-bit) - 79-40.1.wav (28:30), 79-40.2.wav (33:32), 79-40.3.wav (35:52), 79-40.4.wav (29:06), 79-40.5.wav (28:22) (Total = 2:35:22)

Recorded by Gary Margason with Nagra IV.

More information about the collection: http://archiveswest.orbiscascade.org/ark:/80444/xv864989

Photo credit: https://sankirnam.wordpress.com/2016/11/23/dr-m-balamuralikrishna/
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Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Balamuralikrishna Concert @ UW Ethnomusicology (1979)

Dhol – Baydo
Horn [Sorna] – Saydo

Recorded in Dadshan on March 6, 1967. 

These recordings were made by Hiromi Lorraine Sakata and Tom Sakata between August 1966 and July 1967 in Afghanistan. They are excerpted from several larger field recording collections that Hiromi Lorraine Sakata deposited at the UW Ethnomusicology Archives in Seattle. In the early 1970s Hiromi Lorraine Sakata published excerpts from these recordings on two LPs with Lyrichord (LLST 7230 and LLST LLST 7231). These LPs are out of print so we have republished them here. More about Hiromi Lorraine Sakata's collections:  https://guides.lib.uw.edu/archives/sakata

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Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Sorna and Dhol (A6)

Performers unidentified. 

Recorded in Kama on February 9, 1967. 

These recordings were made by Hiromi Lorraine Sakata and Tom Sakata between August 1966 and July 1967 in Afghanistan. They are excerpted from several larger field recording collections that Hiromi Lorraine Sakata deposited at the UW Ethnomusicology Archives in Seattle. In the early 1970s Hiromi Lorraine Sakata published excerpts from these recordings on two LPs with Lyrichord (LLST 7230 and LLST LLST 7231). These LPs are out of print so we have republished them here. More about Hiromi Lorraine Sakata's collections:  https://guides.lib.uw.edu/archives/sakata

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Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Song from Nangarhar (A5)

Lute [Dambura], Voice – Alladad
Voice – Painda Gul

Recorded in Deh Raud on November 10, 1966. 

These recordings were made by Hiromi Lorraine Sakata and Tom Sakata between August 1966 and July 1967 in Afghanistan. They are excerpted from several larger field recording collections that Hiromi Lorraine Sakata deposited at the UW Ethnomusicology Archives in Seattle. In the early 1970s Hiromi Lorraine Sakata published excerpts from these recordings on two LPs with Lyrichord (LLST 7230 and LLST LLST 7231). These LPs are out of print so we have republished them here. More about Hiromi Lorraine Sakata's collections:  https://guides.lib.uw.edu/archives/sakata

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Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Babulala (A4)

Drum [Zerbaghali] – Shazad
Harmonium, Voice – Mira Jan
Rabab [Robab] – Yar Mohammad
Tabla – Baz Mohammad

Recorded in Tirin on November 8, 1966. 

These recordings were made by Hiromi Lorraine Sakata and Tom Sakata between August 1966 and July 1967 in Afghanistan. They are excerpted from several larger field recording collections that Hiromi Lorraine Sakata deposited at the UW Ethnomusicology Archives in Seattle. In the early 1970s Hiromi Lorraine Sakata published excerpts from these recordings on two LPs with Lyrichord (LLST 7230 and LLST LLST 7231). These LPs are out of print so we have republished them here. More about Hiromi Lorraine Sakata's collections:  https://guides.lib.uw.edu/archives/sakata

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Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Pashtu Ensemble (A3)

Rabab [Robab] – Zahir Jan
Voice – Musa Jan

Recorded in Bakhtu on October 31, 1966. 

These recordings were made by Hiromi Lorraine Sakata and Tom Sakata between August 1966 and July 1967 in Afghanistan. They are excerpted from several larger field recording collections that Hiromi Lorraine Sakata deposited at the UW Ethnomusicology Archives in Seattle. In the early 1970s Hiromi Lorraine Sakata published excerpts from these recordings on two LPs with Lyrichord (LLST 7230 and LLST LLST 7231). These LPs are out of print so we have republished them here. More about Hiromi Lorraine Sakata's collections:  https://guides.lib.uw.edu/archives/sakata

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Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Pashtu Ghazal (A2)

Drum [Zerbaghali] – Mohammad Rahim
Lute [Dambura], Voice – Khaistamir
Performer [Tasak], Voice – Sayid Murad

Recorded in Sholgera on March 26, 1967.

These recordings were made by Hiromi Lorraine Sakata and Tom Sakata between August 1966 and July 1967 in Afghanistan. They are excerpted from several larger field recording collections that Hiromi Lorraine Sakata deposited at the UW Ethnomusicology Archives in Seattle. In the early 1970s Hiromi Lorraine Sakata published excerpts from these recordings on two LPs with Lyrichord (LLST 7230 and LLST LLST 7231). These LPs are out of print so we have republished them here. More about Hiromi Lorraine Sakata's collections:  https://guides.lib.uw.edu/archives/sakata

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Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Ensemble Of Northern Afghanistan (B7)

Drum [Zerbaghali] – Abdul Qadir
Fiddle [Ghichak] – Mohammad Nazar

Recorded in Balkh on March 27, 1967.

These recordings were made by Hiromi Lorraine Sakata and Tom Sakata between August 1966 and July 1967 in Afghanistan. They are excerpted from several larger field recording collections that Hiromi Lorraine Sakata deposited at the UW Ethnomusicology Archives in Seattle. In the early 1970s Hiromi Lorraine Sakata published excerpts from these recordings on two LPs with Lyrichord (LLST 7230 and LLST LLST 7231). These LPs are out of print so we have republished them here. More about Hiromi Lorraine Sakata's collections:  https://guides.lib.uw.edu/archives/sakata

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Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Ghichak And Zerbaghali (B6)

Pashtu Landay (A1)

Zha Fuxi (Chinese: 查阜西; 1895–1976) on qin (and unidentified flute player on reel 3) recorded circa 1945. 

Zha Fuxi (Chinese: 查阜西; 1895–1976), also known as Zha Yiping (查夷平) was a leading player and scholar of the guqin. Born in Jiangxi, he started learning guqin in his childhood. In 1936, he co-founded the Jinyu Qin Society (今虞琴社) which later became one of the major national musical organizations for the guqin. In addition, he was a vice-chairman of the National Musical Association of China, president of the Beijing Guqin Society, and a department head at the Central Institute of (Folk) Music. In 1945, he came to the United States and made a few recordings of his music at the Library of Congress, including those heard here. 

Apart from his profession on guqin, he worked for the civil aviation company and was active in the labour movement. After the People's Republic of China was established in 1949, he was a vice-chairman of the National Musical Association, president of the Beijing Guqin Society, and a department head at the Central Institute of (Folk) Music.

Few recordings of his qin performance have been published, though more remain in private and institutional circulation. His playing style was unaffected but serious and elegant; he specialized in qin songs (accompanying himself vocally) and contributed several noteworthy dapu reconstructions, as well as earning the nickname "Zha Xiaoxiang" for his mastery of the piece Xiao Xiang Shui Yun.

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Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

62-1.3

62-1.1

62-1.2

Lalita Ubhayakar/voice; Girin Das/tabla; Sharad Gadre/harmonium. Recorded at the Univeristy of Washington's HUB Auditorium on December 3, 1978. 

Collection Number: 1978026

Tape 1 - Introduction of artist; Applause and Tuning; Selection #1: alap; (tabla enters)

Tape 2 - Selection #1 (continued); Tuning; Artist's introduction; Sugrai Kannada: Chota Khyal (#2); Artist's introduction; Selection #3: slokas.

Tape 3 - Selection #4: bhajan; Applause and announcement; Tuning; Artist's introduction; Shankara: chota Khyal (#5); Artist's introduction, also explanation; Selection #6: bhajan; Concluding remarks.

From https://www.facebook.com/HCMAEOFFICIAL

About Vidushi Lalita Ubhayaker (15 January 1928 - 23 February 2012): A well known Hindustani Classical vocalist from the Agra Gharana. She belonged to a family distinguished for its cultural accomplishments. She was the daughter of Smt. Paravati Bai Ullal and Shri Sundar Rao Ullal. In the year 1946, she married Shri Shivaram Devarao Ubhayaker from the distinguished family of Dharmaprakash Shri Devarao Shivaram Ubhayaker and Smt. Shantabai Devarao Ubhayaker who were noted for their social, religious and philanthropic activities.

She had her early training at home from her mother and was taught by Shri Chidanand Nagarkar for a year. With assiduous and systematic training by Shri Rama Rao Nayak, the masterly pupil of Ustad Ata Hussain Khan and Swamy Vallabhadas, her innate musical talents blossomed into a shape resplendent with color and artistry. Constantly, she was a votary of the majestic Agra Gharana. She had the good fortune of learning under the Dagar brothers, the late Ustad Moinuddin Dagar and Ustad Aminuddin Dagar.

Vidushi Lalita had a voice that was melodious and delicate, especially in the handling of the subtle nuances, and in line with the traditions of the above School, her leanings are naturally towards spacious and leisurely expositions of Ragas. With this colorful backdrop, her acceleration into a faster tempo done with ease and elegance stood in bold relief. Bhajans were her speciality, wherein she identified herself with their spirit, moved with the moods of the melody and portrayed them with warmth and feeling.

Vidushi Lalita had the distinction of being a member of the Cultural Delegation that visited Russia and other Eastern European countries in 1954. As a regular participant in the programmes of All India Radio since 1951, she had the distinction of having performed since 1968 in the National Programmes, Radio Sangeet Sammelans and also in many important music festivals of the country. Her concert tours included recitals in West Germany, Denmark, Holland, England, France, Switzerland, Italy and U.S.A. 

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Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

72-26-03WT

72-26-02WT

72-13-01WT

Lalita Ubhayakar/voice; Girin Das/tabla; Sharad Gadre/harmonium. Recorded at the University of Washington's HUB Auditorium on December 3, 1978.

Collection Number: 1978026

Tape 1 - Introduction of artist; Applause and Tuning; Selection #1: alap; (tabla enters)

Tape 2 - Selection #1 (continued); Tuning; Artist's introduction; Sugrai Kannada: Chota Khyal (#2); Artist's introduction; Selection #3: slokas.

Tape 3 - Selection #4: bhajan; Applause and announcement; Tuning; Artist's introduction; Shankara: chota Khyal (#5); Artist's introduction, also explanation; Selection #6: bhajan; Concluding remarks.

From www.facebook.com/HCMAEOFFICIAL
About Vidushi Lalita Ubhayaker (15 January 1928 - 23 February 2012): A well known Hindustani Classical vocalist from the Agra Gharana. She belonged to a family distinguished for its cultural accomplishments. She was the daughter of Smt. Paravati Bai Ullal and Shri Sundar Rao Ullal. In the year 1946, she married Shri Shivaram Devarao Ubhayaker from the distinguished family of Dharmaprakash Shri Devarao Shivaram Ubhayaker and Smt. Shantabai Devarao Ubhayaker who were noted for their social, religious and philanthropic activities.

She had her early training at home from her mother and was taught by Shri Chidanand Nagarkar for a year. With assiduous and systematic training by Shri Rama Rao Nayak, the masterly pupil of Ustad Ata Hussain Khan and Swamy Vallabhadas, her innate musical talents blossomed into a shape resplendent with color and artistry. Constantly, she was a votary of the majestic Agra Gharana. She had the good fortune of learning under the Dagar brothers, the late Ustad Moinuddin Dagar and Ustad Aminuddin Dagar.

Vidushi Lalita had a voice that was melodious and delicate, especially in the handling of the subtle nuances, and in line with the traditions of the above School, her leanings are naturally towards spacious and leisurely expositions of Ragas. With this colorful backdrop, her acceleration into a faster tempo done with ease and elegance stood in bold relief. Bhajans were her speciality, wherein she identified herself with their spirit, moved with the moods of the melody and portrayed them with warmth and feeling.

Vidushi Lalita had the distinction of being a member of the Cultural Delegation that visited Russia and other Eastern European countries in 1954. As a regular participant in the programs of All India Radio since 1951, she had the distinction of having performed since 1968 in the National Programmes, Radio Sangeet Sammelans and also in many important music festivals of the country. Her concert tours included recitals in West Germany, Denmark, Holland, England, France, Switzerland, Italy and U.S.A.

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Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

72-26-01WT

This is a sample from the A-Frames' performance at the Crocodile Cafe on July 31, 2004. The band's entire performance is available at the UW Libraries Media Center in Seattle, Washington. 

More information: 

http://en.wikipedia.org/wiki/A_Frames_(band)
http://en.wikipedia.org/wiki/Crocodile_Cafe


http://www.thecrocodile.com/
http://guides.lib.washington.edu/croc

A-Frames | July 31, 2004 at the Crocodile Cafe

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Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at medialib@uw.edu.

Prabha Devi - Raga Khamaj Alap

Black on White Affair - Barton 04208

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Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at medialib@uw.edu.

Black on White Affair - sample from the Kearney Barton Collection

This recording is from the Kearney Barton Collection at the University of Washington Libraries in Seattle (USA). Information on the tape box identifies Byron Pope as the artist. Pope is a composer, alto saxophonist, and blues and jazz historian. At this time we do not have information regarding the date of this recording.

More information about the Kearney Barton Collection is available here: http://guides.lib.washington.edu/ps

Photo credit and more information: http://byronhpope.com/byronhpope.com/Welcome.html

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Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at medialib@uw.edu.

Byron Pope (UW Barton 03701, item 1)

Seattle's Milton Simons (1923-1973) was an acclaimed painter and talented vibraphonist. In March 1971 he formed the band Jasis with Paul Dusenbury (piano and flute), Milt Gerard (bass), and Jimmie Williams (percussion). They recorded later that year at Kearney Barton's 5th Avenue studio and released the album on Barton's Topaz label. Called Jasis: Spontaneous Improvisation, the music consists of three tracks, two on side one ("Bhimpalas” and "Spanish Mode"), and one on side two ("Inner Space").  The master tapes came to UW as part of Kearney Barton’s archive in 2010. We’ve digitized and posted these out of print recordings here. 

barton_reel_11106: Reel 11106: JASIS
Topaz Records (cli)
Barton, Kearney W. (eng)
About Milt Simons: https://blackpast.org/aaw/simons-milt-1923-1973

Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status is unknown and may be protected by the U.S. Copyright Law (Title 17, U.S.C.). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of education and research. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Works not in the public domain cannot be commercially exploited without permission of the copyright owner. Responsibility for any use rests exclusively with the user. The University of Washington Libraries attempted to find rights owners without success but is eager to hear from them so that we may obtain permission, if needed. Upon request to ethnoarc@uw.edu, digitized works can be removed from public view if there are rights issues that need to be resolved.

Jasis: Spontaneous Improvisation (side 1)

Record Date: 1958
Location: Burien, Washington

This recording is from the Nelson Folk Music Collection at the University of Washington Libraries in Seattle (USA).

More information about the Nelson Folk Music Collection is available here: http://guides.lib.washington.edu/nelson

Sonny Terry, J.C. Burris | "My Baby Leaving" (UW Nelson NRR006)

Sonny Terry, J.C. Burris | "Rock Island Line" (UW Nelson NRR006)

Sonny Terry, J.C. Burris | "Harmonica with Bones" (UW Nelson NRR006)

Ernestine Anderson, perhaps with Lionel Hampton's 1952 orchestra, sing "Fine and Dandy," "So Long," and "Sunny Side of the Street." This recording is part of the Burt Porter Collection at the University of Washington Libraries, Seattle (Porter 03002, item 6). For more information about this recording and our other Seattle area audio collections, visit us online: guides.lib.washington.edu/ps

Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status is unknown and may be protected by the U.S. Copyright Law (Title 17, U.S.C.). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of education and research. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Works not in the public domain cannot be commercially exploited without permission of the copyright owner. Responsibility for any use rests exclusively with the user. The University of Washington Libraries attempted to find rights owners without success but is eager to hear from them so that we may obtain permission, if needed. Upon request to ethnoarc@uw.edu, digitized works can be removed from public view if there are rights issues that need to be resolved.

Ernestine Anderson (UW Porter Collection 04003, items 1-3)

Record Date: 1982
Location: Everett, Washington

This recording is from the Nelson Folk Music Collection at the University of Washington Libraries in Seattle (USA).

More information about the Nelson Folk Music Collection is available here: http://guides.lib.washington.edu/nelson

Lynne Hann, Bob Nelson | "Tomorrow is Such a Long Time" (UW Nelson NC127)

Lynne Hann, Bob Nelson | "Hold on to Me Babe" (UW Nelson NC127)

Cassette Tape 1, Side B, accompanying the book Lushootseed Texts: An Introduction to Puget Salish Narrative Aesthetics.

Contents: 
Tape 1, Side B (30:27) - Vi Hilbert announces stories; Text #3 - "Crow is Sick" told by Martha Lamont; Text #4 - "Shaman Cure" told by Edward (Hagen) Sam; Text #5 - The Legend of the Boy Who Could Not Walk" told by Emma Conrad. 

About the Book: This volume introduces the oral literature of Native American peoples in Puget Salish–speaking areas of western Washington. Seven stories told by Lushootseed elders are transcribed and translated into English, accompanied by information on narrative design and cultural background. Upper Skagit elder and cotranslator Vi Hilbert, a 1994 recipient of the NEH National Heritage Fellowship in Folk Arts, includes a cultural welcome and offers childhood reminiscences of the storytellers. Cotranslator Thomas M. Hess, associate professor of linguistics at the University of Victoria, parses the beginning lines of a text to show the grammatical structures; he also includes his recollections of working with the storytellers in the 1960s as a graduate student. Editor and cotranslator Crisca Bierwert, assistant professor of anthropology at the University of Michigan, provides information on the processes of language translation and of rendering oral traditions into written form. Annotator T. C. S. Langen, who holds a Ph.D. in English literature and is a curriculum developer for the Tulalip tribe, provides analyses of Lushootseed poetics. The book includes information about purchasing audiotapes of the stories.

More about the book: https://www.nebraskapress.unl.edu/nebraska/9780803212626/ 
---
Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Lushootseed Texts - Texts 3-5 (2005-1.2467B)

Cassette Tape 3, Sides A & B, accompanying the book Lushootseed Texts: An Introduction to Puget Salish Narrative Aesthetics.

Contents: 
Tape 3, Side A (26:14): "Vi Hilbert announces story" (00:00-00:29), "Text #7 - The Story of theSeal Hunters," told by Martha Lamont" (00:29-26:14)
Tape 3, Side B (16:55): "Continuation of story on Side A" (00:00-16:55)

About the Book: This volume introduces the oral literature of Native American peoples in Puget Salish–speaking areas of western Washington. Seven stories told by Lushootseed elders are transcribed and translated into English, accompanied by information on narrative design and cultural background. Upper Skagit elder and cotranslator Vi Hilbert, a 1994 recipient of the NEH National Heritage Fellowship in Folk Arts, includes a cultural welcome and offers childhood reminiscences of the storytellers. Cotranslator Thomas M. Hess, associate professor of linguistics at the University of Victoria, parses the beginning lines of a text to show the grammatical structures; he also includes his recollections of working with the storytellers in the 1960s as a graduate student. Editor and cotranslator Crisca Bierwert, assistant professor of anthropology at the University of Michigan, provides information on the processes of language translation and of rendering oral traditions into written form. Annotator T. C. S. Langen, who holds a Ph.D. in English literature and is a curriculum developer for the Tulalip tribe, provides analyses of Lushootseed poetics. The book includes information about purchasing audiotapes of the stories.

More about the book: https://www.nebraskapress.unl.edu/nebraska/9780803212626/ 
---
Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Lushootseed Texts - Text 7 (2005-1.2468)

Cassette Tape 2, Sides A & B,  accompanying the book Lushootseed Texts: An Introduction to Puget Salish Narrative Aesthetics.

Contents: 
Tape 2, Side A (23:50) - Vi Hilbert announces story (00:00-00:28), Text #6 - The All-YearRound Story," told by Emma Conrad (00:28-23:50)
Tape 2, Side B (18:07) - Continuation of story on Side A (00:00-23:40)

About the Book: This volume introduces the oral literature of Native American peoples in Puget Salish–speaking areas of western Washington. Seven stories told by Lushootseed elders are transcribed and translated into English, accompanied by information on narrative design and cultural background. Upper Skagit elder and cotranslator Vi Hilbert, a 1994 recipient of the NEH National Heritage Fellowship in Folk Arts, includes a cultural welcome and offers childhood reminiscences of the storytellers. Cotranslator Thomas M. Hess, associate professor of linguistics at the University of Victoria, parses the beginning lines of a text to show the grammatical structures; he also includes his recollections of working with the storytellers in the 1960s as a graduate student. Editor and cotranslator Crisca Bierwert, assistant professor of anthropology at the University of Michigan, provides information on the processes of language translation and of rendering oral traditions into written form. Annotator T. C. S. Langen, who holds a Ph.D. in English literature and is a curriculum developer for the Tulalip tribe, provides analyses of Lushootseed poetics. The book includes information about purchasing audiotapes of the stories.

More about the book: https://www.nebraskapress.unl.edu/nebraska/9780803212626/ 
---
Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Lushootseed Texts - Text 6 (2005-1.831)

Cassette Tape 1, Side A, accompanying the book Lushootseed Texts: An Introduction to Puget Salish Narrative Aesthetics.

Contents: 
Tape 1, Side A (29:13) - Song by Louise and Charley Anderson; Vi Hilbert introduces series of 3 tapes that accompany this book (00:00-01:51); Vi Hilbert announces Text #1, "Changer Story," which consists of 3 episodes: Mink and Changer, Crow and Raven, The Wolf Brothers (01:51-03:15); Text #1 - "Changer Story" told by Martha Lamont (03:15-16:15); Text #2 - "TheMarriage of Crow" told by Martha Lamont (16:15-29:13). 

About the Book: This volume introduces the oral literature of Native American peoples in Puget Salish–speaking areas of western Washington. Seven stories told by Lushootseed elders are transcribed and translated into English, accompanied by information on narrative design and cultural background. Upper Skagit elder and cotranslator Vi Hilbert, a 1994 recipient of the NEH National Heritage Fellowship in Folk Arts, includes a cultural welcome and offers childhood reminiscences of the storytellers. Cotranslator Thomas M. Hess, associate professor of linguistics at the University of Victoria, parses the beginning lines of a text to show the grammatical structures; he also includes his recollections of working with the storytellers in the 1960s as a graduate student. Editor and cotranslator Crisca Bierwert, assistant professor of anthropology at the University of Michigan, provides information on the processes of language translation and of rendering oral traditions into written form. Annotator T. C. S. Langen, who holds a Ph.D. in English literature and is a curriculum developer for the Tulalip tribe, provides analyses of Lushootseed poetics. The book includes information about purchasing audiotapes of the stories.

More about the book: www.nebraskapress.unl.edu/nebraska/9780803212626/ 
---
Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Lushootseed Texts - Intro, Texts 1-2 (2005-1.2467A)

Record Date: 1958
Location: Seattle, Washington

This recording is from the Nelson Folk Music Collection at the University of Washington Libraries in Seattle (USA).

More information about the Nelson Folk Music Collection is available here: http://guides.lib.washington.edu/nelson

Bob Gibson | "Tell Old Bill" (UW Nelson PRR027-1)

Venda Music: Recorded Examples by John Blacking.

Track 1 - Tshikona tsha Shakadza, 1956. The Venda national drama for reed pipes, played by men, and drums, played by woman; performed at Thengwe by the people of Shakadza, who were called to the chief’s capital. (1:30)
______

About these recordings - In 1973 John Blacking's How Musical Is Man? was published by University of Washington Press. Blacking, an English anthropologist and ethnomusicologist, had been invited to the University of Washington as a Jessie and John Danz Lecturer in 1971, and his series of talks became the basis for this published work. How Musical Is Man? explores the role of music in society and culture and, conversely, the role of culture and society in music. Blacking draws on his field research with the Venda people of the Northern Transvaal, South Africa as well as his own musical background to demonstrate the relationships between patterns of sound and patterns of human organization inherent to all societies.

In response to requests for recordings of the musical examples in How Musical Is Man?, Blacking provided the University of Washington Ethnomusicology Archives with an audio tape of samples of his own recordings of Venda music to make available for distribution. This music, along with Blacking's accompanying notes and additional photographs, is available here: http://www.music.washington.edu/ethno/blacking.html


Blacking Track 1 - "Tshikona tsha Shakadza, 1956" (Blacking, UW Ethnomusicology Archives)

Performed by the Cecil Young Quartet--Cecil Young piano, Gerald Brashear sax/congas/bongos, Jimmie Rodgers drums, and Traff Hubert bass--at the 908 Club in Seattle, Washington: May 30, 1951. 

Track 1 - September Song, Ernestine Anderson on vocals
Track 2 - Camels are Coming
Track 3 - Ema Sumac
Track 4 - Somebody's Got to Go

This recording is from the Burt Porter Collection at the University of Washington Libraries, Seattle. Contact vallier@uw.edu for more information.

Ernestine Anderson and the Cecil Young Quartet @ the 908 Club, 1951 (Porter 01011)

Track 2 - "Nyimbo dza vhana (children’s songs)." See VC; also HM, pp. 90-97.

a) Ndo bva na tshidongo (“I walked out with a small dish”), VC, No. 50, an unusually long and original version sung by Tshinakaho Phafula of Luvhimbi in 1957. (1:00)

b) Two different versions of Funguvhu, tanzwa mulomo! (“Crow, wash your mouth!”), VC, No. 41, followed by Kula kwe’ Ndi vho-nnyi vhala? (“That little one said, ‘Who is that?’”), VC, No. 45, sung respectively by Johannes Tshikudo and Takalani Temudzani of Thengwe in 1957.  See HM, p. 24. (1:20)

c) Maelele! Mapengo thi mu funi zwone (“I love Mapengo very dearly”), VC, No. 38, sung by Matodzi Ne-Thengwe and Masindi Tshikudo of Thengwe in 1958.  See HM, p. 70.  (0:30)

d) Thoho yanga i a rema (“My head aches”), VC, No. 36, sung by Miriam Netshilema of Duthuni in 1960.  (0:41)

e) Thathatha!Tsindi i na nnda (“Thathatha! The loincloth is full of lice”), VC, No. 56, a song without a melody sung by Zwodangani Ne-Thengwe of Thengwe in 1956.  See HM, p. 28, for another song of the same type.  (0:35)

f) Two versions of Inwi haee Nyamudzunga! (“Hullo there, Nyamudzunga!”), VC, No. 34, sung by Zwodangani and Selina Ne-Thengwe of Thengwe and Gilbert Ligege of Duthuni in 1956.  See HM, p. 70.  (0:25)

g) Nde’ ndi ngei thavhani (“When I was there on the mountainside”), VC, No. 47, sung by Nkhumeleni Ralushai of Ha Ralushai, near Mbilwi, in 1956.  (0:30)
______

About these recordings - In 1973 John Blacking's How Musical Is Man? was published by University of Washington Press. Blacking, an English anthropologist and ethnomusicologist, had been invited to the University of Washington as a Jessie and John Danz Lecturer in 1971, and his series of talks became the basis for this published work. How Musical Is Man? explores the role of music in society and culture and, conversely, the role of culture and society in music. Blacking draws on his field research with the Venda people of the Northern Transvaal, South Africa as well as his own musical background to demonstrate the relationships between patterns of sound and patterns of human organization inherent to all societies.

In response to requests for recordings of the musical examples in How Musical Is Man?, Blacking provided the University of Washington Ethnomusicology Archives with an audio tape of samples of his own recordings of Venda music to make available for distribution. This music, along with Blacking's accompanying notes and additional photographs, is available here: http://www.music.washington.edu/ethno/blacking.html

Blacking Track 2 - "Nyimbo dza vhana (children’s songs)" (UW Ethnomusicology Archives)

Venda Music: Recorded Examples by John Blacking.

Track 3 - Mutshaini, a melody for pentatonic reed pipes and drums, played in Meadowlands, Soweto, Johannesburg, by a team led by Petrus Liuvha and Johannes Doboro.  Note the introductory call on the phalaphala (see HM, illus. following p. 50), a side-blown horn made from the horn of a sable antelope or kudu.  See also HM, Fig. 12, p.97.  (3:20)
______

About these recordings - In 1973 John Blacking's How Musical Is Man? was published by University of Washington Press. Blacking, an English anthropologist and ethnomusicologist, had been invited to the University of Washington as a Jessie and John Danz Lecturer in 1971, and his series of talks became the basis for this published work. How Musical Is Man? explores the role of music in society and culture and, conversely, the role of culture and society in music. Blacking draws on his field research with the Venda people of the Northern Transvaal, South Africa as well as his own musical background to demonstrate the relationships between patterns of sound and patterns of human organization inherent to all societies.

In response to requests for recordings of the musical examples in How Musical Is Man?, Blacking provided the University of Washington Ethnomusicology Archives with an audio tape of samples of his own recordings of Venda music to make available for distribution. This music, along with Blacking's accompanying notes and additional photographs, is available here: http://www.music.washington.edu/ethno/blacking.html

Blacking Track 3 - "Mutshaini..." (UW Ethnomusicology Archives)

Venda Music: Recorded Examples by John Blacking.

Track 4 - Vho-mme vho ya ngafhi? (“Where has your mother gone?”), a song for girls, VC, No. 33, sung by Tshenwane and Selina Ne-Thengwe of Thengwe in 1957.  Cf. the melody of No. 5, following, Mangovho, and see HM, p. 97.  (0:15)

______
About these recordings - In 1973 John Blacking's How Musical Is Man? was published by University of Washington Press. Blacking, an English anthropologist and ethnomusicologist, had been invited to the University of Washington as a Jessie and John Danz Lecturer in 1971, and his series of talks became the basis for this published work. How Musical Is Man? explores the role of music in society and culture and, conversely, the role of culture and society in music. Blacking draws on his field research with the Venda people of the Northern Transvaal, South Africa as well as his own musical background to demonstrate the relationships between patterns of sound and patterns of human organization inherent to all societies.

In response to requests for recordings of the musical examples in How Musical Is Man?, Blacking provided the University of Washington Ethnomusicology Archives with an audio tape of samples of his own recordings of Venda music to make available for distribution. This music, along with Blacking's accompanying notes and additional photographs, is available here: http://www.music.washington.edu/ethno/blacking.html

Blacking Track 4 - "Vho-mme vho ya ngafhi?" (UW Ethnomusicology Archives)

Venda Music: Recorded Examples by John Blacking.

Track 7 - Transformations of tshikona  (Ex. 1), the Venda national dance.

a) On mbila tshipai, played by Petrus Nengwani in 1956 at Tshakhuma.  The mbira had 15 keys.  (0:16)

b) Tshikona, as played on reed pipes.  (0:20)

c) On mbila dza madeza, played by Mattheus Mutswaletswane of Vondo in Meadowlands, Soweto, in 1963.  (0:15)

d) Two versions on tshihwana musical bow (see HM, illus. following p. 50), played by Tshidavhula Madiya and Tshinanne Mashau of Tshakhuma, respectively, in 1956.  (0:20)

e) On tshizambi friction bow, played by Samson Redi of Lufule in 1957.  (0:20)

f) On tshizambi friction bow, played by Samson Redi of Lufule in 1957.  (0:20)
  ______

About these recordings - In 1973 John Blacking's How Musical Is Man? was published by University of Washington Press. Blacking, an English anthropologist and ethnomusicologist, had been invited to the University of Washington as a Jessie and John Danz Lecturer in 1971, and his series of talks became the basis for this published work. How Musical Is Man? explores the role of music in society and culture and, conversely, the role of culture and society in music. Blacking draws on his field research with the Venda people of the Northern Transvaal, South Africa as well as his own musical background to demonstrate the relationships between patterns of sound and patterns of human organization inherent to all societies.

In response to requests for recordings of the musical examples in How Musical Is Man?, Blacking provided the University of Washington Ethnomusicology Archives with an audio tape of samples of his own recordings of Venda music to make available for distribution. This music, along with Blacking's accompanying notes and additional photographs, is available here: http://www.music.washington.edu/ethno/blacking.html

Blacking Track 7 - "Transformations of tshikona..." (UW Ethnomusicology Archives)

Venda Music: Recorded Examples by John Blacking.

Track 8 - Instrumental music: wind instruments.

a) Solo for dilitili flute (see HM, illus. following p. 50), played by Ratshilumela Mufanadzo of Magidi in 1958; followed by “words” by which the melody is remembered, and then a second tune called Tshitereke, whose words are sung by Mboneni Ramaposwo.  (2:15)

b) Three tunes for ocarina (tshipotoliyo) duet played by Alfred Tshibalanganda and Flaubert Netshikwati of Gaba in 1957.  See tunes A, C, and B in HM, Fig. 3, p. 20.  (1:20)

c) Tune for tshitiringo three-holed transverse flute played by Alfred Mukwevho of Ngwenani in 1956.  (0:25)
 ______

About these recordings - In 1973 John Blacking's How Musical Is Man? was published by University of Washington Press. Blacking, an English anthropologist and ethnomusicologist, had been invited to the University of Washington as a Jessie and John Danz Lecturer in 1971, and his series of talks became the basis for this published work. How Musical Is Man? explores the role of music in society and culture and, conversely, the role of culture and society in music. Blacking draws on his field research with the Venda people of the Northern Transvaal, South Africa as well as his own musical background to demonstrate the relationships between patterns of sound and patterns of human organization inherent to all societies.

In response to requests for recordings of the musical examples in How Musical Is Man?, Blacking provided the University of Washington Ethnomusicology Archives with an audio tape of samples of his own recordings of Venda music to make available for distribution. This music, along with Blacking's accompanying notes and additional photographs, is available here: http://www.music.washington.edu/ethno/blacking.html

Blacking Track 8 - "Instrumental music: wind instruments" (UW Ethnomusicology Archives)

Venda Music: Recorded Examples by John Blacking.

Track 10 - Instrumental music: mbira and xylophone.

a) For mbila tshipai: (i) A walking tune for going to amalaita boxing at the cattle dip (see Pl. 5 in VC), played in 1956 by Samuel Shipango of Lambani.  (ii) and (iii) two Amalaita duets played in 1956 by Johannes Hanyani (Shangana-Tsonga) of Tshivhambe, assisted by Joseph Makungo (Venda).  (2:00)

b) For mbila dza madeza: (i) Vho-Muzila and (ii) Tsha Madekwe, played by Mattheus Mutswaletswane of Vondo in Meadowlands, Soweto, in 1963, accompanied by friends who sing the chorus.  (2:25)

c) For mbila mtondo xylophone: Hu na Nya-mu-takala-nga-u-la (“It is Madam Happy-whenever-she-is eating.”)  This is an old song, said to be the original of Vho-Muzila (see bi, above), which was the name given to it in honor of Ramaremisa, Chief Tshivhase in the 1930s.  Played by William Marubini Madobi and George Lugiseni Madobi of Mbaleni, in 1957.  See photo taken during performance, HM, following p. 50.  (2:20)
______

About these recordings - In 1973 John Blacking's How Musical Is Man? was published by University of Washington Press. Blacking, an English anthropologist and ethnomusicologist, had been invited to the University of Washington as a Jessie and John Danz Lecturer in 1971, and his series of talks became the basis for this published work. How Musical Is Man? explores the role of music in society and culture and, conversely, the role of culture and society in music. Blacking draws on his field research with the Venda people of the Northern Transvaal, South Africa as well as his own musical background to demonstrate the relationships between patterns of sound and patterns of human organization inherent to all societies.
In response to requests for recordings of the musical examples in How Musical Is Man?, Blacking provided the University of Washington Ethnomusicology Archives with an audio tape of samples of his own recordings of Venda music to make available for distribution. This music, along with Blacking's accompanying notes and additional photographs, is available here: http://www.music.washington.edu/ethno/blacking.html
______

Blacking Track 10 - "Instrumental music: mbira and xylophone..." (UW Ethnomusicology Archives)

UW Ethnomusicology Archives concert recordings: Balamuralikrishna (audio), 1979-10-11

Performers: Dr. M. Balamuralikrishna/voice; Sri Annavarupu Ramaswamy/violin; Sri Tanjore Upendran/mridangam; Smt. B. Abhayambika/(electric) tambura.

Tapes digitized 3/2016 (WAV, 48 kHz, 24-bit) - 79-40.1.wav (28:30), 79-40.2.wav (33:32), 79-40.3.wav (35:52), 79-40.4.wav (29:06), 79-40.5.wav (28:22) (Total = 2:35:22)

Recorded by Gary Margason with Nagra IV.

More information about the collection: archiveswest.orbiscascade.org/ark:/80444/xv864989

Photo credit: sankirnam.wordpress.com/2016/11/23/dr…uralikrishna/
---
Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

79 - 40.5

79 - 40.4

UW Ethnomusicology Archives concert recordings: Balamuralikrishna (audio), 1979-10-11

Performers: Dr. M. Balamuralikrishna/voice; Sri Annavarupu Ramaswamy/violin; Sri Tanjore Upendran/mridangam; Smt. B. Abhayambika/(electric) tambura.

More information about the collection: archiveswest.orbiscascade.org/ark:/80444/xv864989

Photo credit: sankirnam.wordpress.com/2016/11/23/dr…uralikrishna/
---
Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Tapes digitized 3/2016 (WAV, 48 kHz, 24-bit) - 79-40.1.wav (28:30), 79-40.2.wav (33:32), 79-40.3.wav (35:52), 79-40.4.wav (29:06), 79-40.5.wav (28:22) (Total = 2:35:22)

Recorded by Gary Margason with Nagra IV.

79 - 40.3

79 - 40.2

79 - 40.1

Ivar Haglund recording radio spots with Kearney Barton in Seattle, 1955. 

Part of the Kearney Barton Collection: http://tinyurl.com/uwlibs-barton

[photo credit: via http://www.historylink.org, "Courtesy Paul Dorpat"]

--
Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at medialib@uw.edu.

Ivar Haglund recording radio spots (1955)

Cecil Young Quartet, performing on March 11, 1951, at the Seattle's Women's Club: Cecil Young on piano and vocals, Gerald Brashear on tenor saxophone and percussion, Traff Hubert on bass, and Jimmie Rodgers on drums. 

For more information about Cecil Young and his quartet, read Pete Blecha's articles on Historylink.org: 
Negro Musicians' Union," AFM Seattle Local 493 (1918-1958)
(http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10329)
and
AFM Local 493, Seattle's "Negro Musicians' Union," holds big benefit bash on May 29, 1951
(http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10330). 

See also Peter Walton's profile of Cecil Young:
http://www.blackpast.org/?q=aaw/young-cecil-c-1920-c-1975

This recording was digitally spliced together from 9 separate reel-to-reel 1/4" analog tapes from the UW Libraries' Burt Porter Collection:
http://guides.lib.washington.edu/content.php?pid=228051&sid=3419277

Photo courtesy of Pete Blecha via King Records. See this post for original context:
http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10330

Cecil Young Quartet: March 11, 1951

Founded in 1962, the UW Eth­no­mu­si­col­ogy Archives is home to more than 100,000 rare and unique films, videos, and sound recordings. Collected by ethnomusicologists and community members, these materials document global and local music across a range of traditions and styles: Some materials may be restricted or require special permission to access.

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