Abstract
Hugh Tracey (1903–1977) founded the International Library of African Music (ILAM) and is well known for his recordings of traditional African music. This paper examines Tracey’s written representations of African music and of the musical interactions involved in the formation of his archive, finding contradictory repressive and collaborative elements in his work and an ambiguous stance toward musical difference. In doing so, it reveals Tracey’s implication in racialized colonial and apartheid power structures and challenges the celebratory view of him as a champion of indigenous culture.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
