| 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. |
