Department of Music & Theatre Studies

 

Recent Submissions

  • The dramaturgy of Kalongolongo: A genre by children 

    Akoth, Odero Lilian (AJOL, 2017)
    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 ...

  • Political influence on music performance in Kenya between 1963-2002 

    Kaskon W Mindoti, Hellen Agak (Council for Research in Music Education, School of Music, University of Illinois, 2004)
    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, ...

  • The cultural marriage music of the Abaluhya: Song text as a mode of discourse 

    Kaskon W Mindoti (Centering on African practice in musical arts education. Edited by M. Mans. Cape Town: African Minds, 2006)
    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 ...

  • Verbal-Text as A Process of Compositional and Improvisational Elaboration in Bukusu Litungu Music 

    Abigael Nancy Masasabi (University of south africa, 2011)
    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 ...

  • The substance of African Divine Church choral music 

    Abigael Nancy Masasabi (Cape Town: African Minds, 2006)
    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 ...

  • Refocusing Indigenous Music for Formal Classroom Practice: A Process of Creating Partnership between the School and the Community 

    Rose A Omolo-Ongati (Unesco.org, 2007)
    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 ...

  • The Preparation of Music Teachers in Kenya 

    ROSE OMOLO ONGATI; ROSE OMOLO ONGATI (National Association for Research and Post-graduate Studies in Music (ANPPOM), 2015)

  • Text-melody relationships: Translation of European Hymns into Dho-Luo 

    Rose A Omolo-Ongati (Council for Research in Music Education, School of Music, University of Illinois, 2005)
    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 ...

  • Change, innovation and continuity in the performance practice of traditional Luo instrumental genres in contemporary popular settings 

    Rose A Omolo-Ongati (Rose A Omolo-Ongati, 2006)
    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 ...

  • Prospects and Challenges of Teaching and Learning Musics of the World's Cultures: An African Perspective 

    Rose Omolo-Ongati (Australian Academic Press, 2005)

  • DYNAMICS IN CANDIDATES’PREFERENCE CHOICES AT THE KENYA CERTIFICATE OF SECONDARY EDUCATION (KCSE) MUSIC PRACTICAL EXAMINATION 

    African music scholars are currently grappling with the challenges of refocusing musical arts based on indigenous knowledge for classroom practice as well as developing Africa-sensed musical arts curricula that use culturally appropriate pedagogies derived from viable theoretical, philosophical and performance practices of indigenous music. The African spirit of humanity encourages all-inclusive participation that bonds participants in performance-based learning situations. The philosophy framing an assessment model should derive from the ideology of humanity (grounded in humane qualities and aspirations) embedded in musical arts education indigenous to the area of a culture. This model should enable and acknowledge demonstration of differentiated innate attributes and take into account the compatible skills of every participant in the learning activity. Rigid assessment yardsticks are often transferred from Western elitist music education practice and used in the assessment of the musical arts in Africa, thus compromising innate musicality. In this article we advocate for assessment initiatives that should enhance the humanity virtues of indigenous intellectual and praxial paradigms, as well as taking note of epistemological logic embedded in contemporary realities. Two different examples from two African countries are used to illustrate our argument (PROBLEMS IN MUSIC PEDAGOGY, 2010)
    Most studies have used the element of listening response to musical stimuli to determine music preferences of the various groups studied. In this study however, the term preference is used to mean the art of choosing one ...

  • Injecting the African spirit of humanity into teaching, learning and assessment of musical arts in the modern classroom 

    Unknown author (Routledge, 2014)
    African music scholars are currently grappling with the challenges of refocusing musical arts based on indigenous knowledge for classroom practice as well as developing Africa-sensed musical arts curricula that use ...

  • Indigenous Music for Classroom Practice: A Process of Building or Burning Bridges? 

    Rose A Omolo-Ongati (ISME Commission on Research, 2014)
    The purpose of the study was to foster multicultural perspectives in teaching traditional Brazilian Choro music through class instruction to a particular group of American university music students. The theoretical and ...