Department of Music & Theatre Studies
https://repository.maseno.ac.ke/handle/123456789/99
2024-03-28T19:51:53ZThe dramaturgy of Kalongolongo: A genre by children
https://repository.maseno.ac.ke/handle/123456789/4937
The dramaturgy of Kalongolongo: A genre by children
Akoth, Odero Lilian
Several approaches to the classifications of theatrical genres are modeled on Western theoretical perspectives, literary analyses and adult viewpoints with less regard for performance dynamics within children’s specific cultural contexts. This paper is part of a wider study whose main objective is to establish the place of indigenous theatre in early childhood development (ECD) by analyzing theatrical genres at the disposal of children and caregivers from 33 sampled ECD centres in Ugenya District, Kenya. The study engaged the critical lenses of postcolonial theory to interrogate the homogeneity in the traditional classification of genres to conform only to Western literary discourses and adult perceptions with a view to foreground the authenticity in the classification of genres according to children’s ways of knowing and doing. It is evident in this study that Kalongolongo exists both as a genre and a performance space that plays host to a whole range of performance aesthetics. Therefore, this paper analyzes the place of Kalongolongo, an indigenous theatrical genre based on children’s theatrical performances, to demonstrate the significance of strengthening local classifications in research, policy and practice.
https://www.ajol.info/index.php/jh/article/view/151938
2017-01-01T00:00:00ZPolitical influence on music performance in Kenya between 1963-2002
https://repository.maseno.ac.ke/handle/123456789/3767
Political influence on music performance in Kenya between 1963-2002
Kaskon W Mindoti, Hellen Agak
This historical study attempts to relate how politics has influenced music performance education in Kenya between 1963 - 2002. The study is based on the historical period studied, Educational Syllabuses, Commission Reports, National Day Programs experience and recollection as music teachers and educators who took part in some activities during this period. Missionary/colonial governments propagated a western tradition in schools but did not allow performance of indigenous music. After the government reintroduced traditional music and dance performances for state festivals but not for academic purposes. Music was made an academic subject like any other school subject with the establishment of the 8.4.4 System of education Nyayo era. Because the president popularized music performance nationwide, there school, Christian and parastatal choirs and traditional dance group.
2004-01-01T00:00:00ZThe cultural marriage music of the Abaluhya: Song text as a mode of discourse
https://repository.maseno.ac.ke/handle/123456789/3766
The cultural marriage music of the Abaluhya: Song text as a mode of discourse
Kaskon W Mindoti
In this chapter, I discuss how the indigenous marriage music of the Abaluhya takes a special role in relaying messages to the bridal couple. Through song, performers acquire special licence to use some text, which in ordinary use of the language is prohibited by the norms of the community. Data were gathered during field research and then analysed. Each song text is written in the original language (Oluluhya), translated literally into English and its usage analysed. I have also briefly discussed the emerging trends and their effect on the indigenous marriage music of the Abaluhya.
2006-01-01T00:00:00ZVerbal-Text as A Process of Compositional and Improvisational Elaboration in Bukusu Litungu Music
https://repository.maseno.ac.ke/handle/123456789/3565
Verbal-Text as A Process of Compositional and Improvisational Elaboration in Bukusu Litungu Music
Abigael Nancy Masasabi
The Bukusu community is predominantly found in Bungoma district of Western Kenya. The Litungu is a word referring to a lyre among the Bukusu community. Music accompanied by this instrument is what is referred to as Litungu music. This music makes use of sung text and “verbal-text”/ silao-sikeleko (speech and speech-melody) and silao-sikeleko is the focal point of this study. Silao-sikeleko is performed in alternation with sung text in Litungu music. This study seeks to identify the cultural and compositional role of silao-sikeleko in the music. To achieve the objectives of this study I used a qualitative approach to collect and analyze data. Data collection included the use of interviews and observation. The interviewees included performers of Litungu music, whose music was audio recorded and video recorded for analysis. In addition, I made observations of the performance sites and performance behaviour, taking notes and making audio and video recording. Music for analysis was then selected on the basis that it had the silao-sikeleko component. The Bukusu cultural view of silao-sikeleko is discussed in relation to their customs and way of life. The execution of silao-sikeleko is based on a culturally conceived framework that allows the involvement of various performers in the performance composition process. Here the contexts within which silao-sikeleko is performed are identified. Analysis of the relationship between sung text and silao-sikeleko established that whereas the two are thematically unified, silaosikeleko substantiates the sung texts by facilitating an understanding of messages contained in the songs. The analysis of language use ascertained that silao-sikeleko makes use of language devices such as proverbs, idioms, symbolism, riddles and similes. I established that silao-sikeleko as a performance compositional element has its own presentational structure that influences the overall structure of the Litungu music. Litungu music has a quasi-rondoic structure whose output is not static but varies according to context and the wishes of the soloist. The soloist interprets how effectively a given message has been communicated during performance determining how much silao-sikeleko should be performed. Silao-sikeleko is in most cases composed and performed by various members of a performing group.
2011-01-01T00:00:00ZThe substance of African Divine Church choral music
https://repository.maseno.ac.ke/handle/123456789/3564
The substance of African Divine Church choral music
Abigael Nancy Masasabi
Choral music in Africa could be classified asWestern“art”, African“art”or indigenous
African choral music, which includes traditional“classical”, ethnic, religious and folk
styles. All over Africa, indigenous choral singing was a strongly established tradition
long before colonisation and the subsequent introduction of Western choral music.
This music is rich in terms of culture, musical quality and functionality, making use
of styles which although diverse, are unique to Africa. As observed among theYoruba
of Africa, indigenous choral music is organised on gender, age, social, hereditary and
divine orders. The harmonic textures include unison, homophonic parallelism and
polyphony, while the arrangement of scores is completely oral, surviving through
oral traditions. Unlike Western practice, the conducting is carried out by the master
musician or the lead singer, while the voice arrangements and stylistic techniques are
distinct. This paper examines the unique aesthetic principles that underlie the
indigenous choral styles of the Yoruba of Africa and the resultant organisational
structures, performance contexts and practices, with a view to documenting and
reviving the indigenous choral heritage which is almost dying in many ethnic groups
as a result of education, modernity and other external influences.
2006-01-01T00:00:00ZRefocusing Indigenous Music for Formal Classroom Practice: A Process of Creating Partnership between the School and the Community
https://repository.maseno.ac.ke/handle/123456789/3102
Refocusing Indigenous Music for Formal Classroom Practice: A Process of Creating Partnership between the School and the Community
Rose A Omolo-Ongati
This paper examines the modalities and logistics of refocusing indigenous music in formal classroom practice in Kenya in a bid to create partnership between the community and the school. The need to refocus indigenous music for use in classroom stems from the fact that the childhood and youth when the individual traditionally learnt their cultural music practices is now spent in school hence, the need to take this important aspect of music to school to ensure its preservation among the school going youth in the academy. More so, the breakdown in traditional systems of cultural transmission among modernized nations on the continent of Africa has resulted in much of its traditional music being lost or severely misinterpreted. With the urbanized children not having their working parents to induct them into indigenous musical life, the need to take indigenous music to the classroom is more urgent and crucial.
But introducing indigenous music in the classroom alone is not enough to determine its preservation. What will determine whether the music is preserved or decayed are the mode (s) of transfer and the treatment of this music in the new context. Currently the way in which indigenous music is recontextualised and treated in the classrooms suggests a process of burning bridges and not building bridges between the cultures from where the music is taken and classroom culture.
Using examples derived from the classroom teaching situations and experiences in Kenya, this paper will attempt to answer the following questions:
What should happen when indigenous music is recontextualised for classroom use? Should the teacher develop and use culturally appropriate pedagogies that match the music’s demands or stick to the conventional teaching methods in music?
How do we ensure retention of what is taught in terms of subsequent application in the learners’ lives since they are not going to operate in a vacuum once they graduate?
How do we make the music learnt relevant in terms of the contemporary challenges?
Unless indigenous music is recontextualised for classroom use in such a way that a bridge is built between the cultural practice and classroom demands so that the music can move to and from these two settings for future use by the learners, in a bid to create partnership between the school and the community, it will become a cultural thing that the learners do in their secondary and university education and after that it is dead and forgotten
2007-01-01T00:00:00ZThe Preparation of Music Teachers in Kenya
https://repository.maseno.ac.ke/handle/123456789/3101
The Preparation of Music Teachers in Kenya
ROSE OMOLO ONGATI; ROSE OMOLO ONGATI
2015-01-01T00:00:00ZText-melody relationships: Translation of European Hymns into Dho-Luo
https://repository.maseno.ac.ke/handle/123456789/3098
Text-melody relationships: Translation of European Hymns into Dho-Luo
Rose A Omolo-Ongati
This study addressed the problem of translation of European hymns into Dho-luo, with specific reference to text-melody relationships It outlines the process of translating music and compositional methods and techniques employed in tonal languages. Thirty hymns sampled from Seventh Day Adventist hymnbook, Wende Nyasaye were analysed in terms of musical and textual relationship. The analysis revealed existence of distortions and irregularities in terms of syllabic accents, speech rhythm and intonation in the translated hymns. These were corrected using the rule of "parallelism" governing Luo songs. Four possible ways of correcting irregularities were used depending on the problems noted. The study established that use of hymns with translated text and borrowed European tunes are stylistically and culturally inappropriate to the Luo context. There is therefore need for developing culturally appropriate songs that will achieve the three components of high communication in African songs namely language, music and performance.
2005-01-01T00:00:00ZProspects and Challenges of Teaching and Learning Musics of the World's Cultures: An African Perspective
https://repository.maseno.ac.ke/handle/123456789/3096
Prospects and Challenges of Teaching and Learning Musics of the World's Cultures: An African Perspective
Rose Omolo-Ongati
2005-01-01T00:00:00ZChange, innovation and continuity in the performance practice of traditional Luo instrumental genres in contemporary popular settings
https://repository.maseno.ac.ke/handle/123456789/3095
Change, innovation and continuity in the performance practice of traditional Luo instrumental genres in contemporary popular settings
Rose A Omolo-Ongati
Traditional Luo1 musical genres are consistently being eroded by the wave of urbanisation and the impact of Western culture. Although traditional Luo genres remain common and widely appreciated in contemporary musical practices, many have compromised their traditional usage and contextual implication. Some instrumental Luo musical types have therefore lost their institutional roles, resulting in changes in their original musicological meaning. This chapter analyses two traditional Luo instrumental genres to determine their content and context of performance in contemporary popular setting, contrasting them against the traditionally accepted status quo to establish whether musical change has occurred
2006-01-01T00:00:00Z