MST-Department of Music and Dance

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Dance step and movement: a study of the factors affecting step and movement of Kinze dance among the Akamba
(Kenyatta University, 1992) Kilonzo, Lucy A.
The purpose of this study was to investigate in depth the factors that affect music dance step and movement in Kinze dance. The emphasis was to single out these factors under three major areas, namely: The cultural, social and physical or environmental factors. Establish how they affect the music dance step and movement and find out a possible solution, on how to preserve dancing style steps and movement of a dance as it develops. A total of 30 dancing troupes were singled out for observation in the Southern part of Machakos District. The selection was done from a purposive sample where the groups were divided into 3 strata; that is dancing troupes from marginal boundary to the North, the unaffected at the middle and the marginal boundary in the South were observed. Data was obtained by means of interview schedule, and observation schedule. Data obtained in the study revealed that there is divergence and digration in the dances. It was also found that, women are the main actors as far as music and dance is concerned.
The Development of Kenyan Popular Guitar Music: A Study of Kiswahili Songs in Nairobi
(1998-01) Chrispo, Okumu, Caleb
The aim of this thesis is to explore the origins and development of Kenyan popular guitar music with a special study of Kiswahili songs in Nairobi. Chapter One represents the central issues that motivated the researcher to embark on this study and raises the questions that have been answered. It also discusses the objectives, assumptions, rationale, scope, limitations and theoretical framework and methodology upon which the research study was based. Chapter Two gives the background of the study by looking at the geographical, sociological and historical aspects of the urbanization of the area of study. This gives a firm ground for the study. Chapter Three focuses on the current popular guitar music trends in the City of Nairobi. This gives the status-quo of the subject of study. Chapter Four analyses the song texts of the selected popular songs in order to see the sociological contexts of the words contained in the songs. Chapter Five further analyses the musicological aspects by highlighting the essentials of the music in the form of transcriptions. Chapter Six discusses by way of conclusion the findings and suggests the areas for further research.
Samia Afro-Classics: A creative composition 1.Omwana Uno 2. Mama
(Kenyatta University, 1999-04) Musungu, Gabriel J
While arranging Samia folk songs, many arrangers have not considered musical components that are important in its tradition, for example, syllabic intonation, scales and speech rhythm. The end result has been distortion of the melodic flow, misplaced accents in the syllables and words of the Samia songs. This has interfered with the Samia dialect and speech rhythm. The study, Samia Afro-Classics, was prompted by the above and the fact that, the composers and arrangers may not have considered the Luhya sub ethnic factor. This is also due to the fact that the Samia have their own musical components. The study has a creative arrangement and a composition done in Samia tradition observing its speech rhythm, accents and syllabic intonation. Specifically, the study sought to: collect Samia folk songs from various performing groups, transcribe the folk songs collected with a view to classify them, adapt and arrange Samia folk songs with an intention of producing a creative work using Western techniques, compose a piece of music with Samia rhythm and dialect using Western notation and analyses the two creative works. The study used the theory of cultural change which involves acculturation, syncretism and diffusion processes to merge the Sarnia and Western elements. The snowball and purposive sampling methods were used to get the respondents. The music elements of the two cultures were identified and merged. For example, from the Sarnia, there were melodic elements, speech rhythms and syllabic accents, while from the Western music there were, harmony, dynamics, intervals, notation, bar and bar lines, time signature, key signature and tempo. Finally, an analysis of the creative works was do
Factors affecting the instruction of Kenyan indigenous Music: a survey of Nairobi secondary schools
(Kenyatta University, 2000) Mushira, Evelyne N.
The study was carried out to determine factors affecting the teaching of indigenous Kenyan music in Nairobi Secondary Schools. The researcher, as a result of experience, had it difficult to use pro- Western music teaching methodologies to teach African music. This therefore brought to mind the question of how the rest of the teaching fraternity was handling African music bearing in mind that at the inception of the 8-4-4 curriculum, training for teachers, there was no prior in-service The population studied consisted of 20 schools in Nairobi that offer the 8-4-4 music curriculum. Data collecting instruments were questionnaire, interviews, non-participant observation, and the respondents were music teachers of secondary schools. Analysis of data was done within logical and conceptual frameworks. Findings of the study showed that: - inadequate time is allocated for the teaching of Kenyan indigenous music; students do not engage in composition of folk musics; the teaching of analysis is not carried out in the lower levels but only in form four; literacy skills acquired are inadequate; teaching does not embrace the entire concept of African music and that the different aspects of musical experience are not balanced in the instructional programme; suitable teaching resources are neglected (audio-visual aids); resource persons (master musicians) are not utilized for teaching of skills; field trips are not part and parcel of the learning experience; teaching and learning activities are predominantly theoretical. Experiential learning was hence found to be lacking. The study recommends that: workshops and in-service courses be organised for music teachers to educate them on teaching methodologies and resource usage; School heads ought to be sensitized on the importance of field trips for the teaching of African music; master musicians should be incorporated into the system of music education so that schools can have easy access to their services, especially in the area of practical musicianship; the teaching of analysis and all other areas of the syllabus ought to begin in form one; teachers should review their scheduling modalities so as to give adequate time for African indigenous music; there should be increased use of audio-visual aids to supplement the use of books.
Integration of the Visually Impaired: The Case of Voice Training in Kenyatta University
(2002) Okeyo, D. A.; Akuno, Emily Achieng; Tipton, C.
This study investigated the integration of the visually impaired students particularly those training in voice. The study sought to: a) Identify the strategies employed by lecturers in voice training of the visually impaired. b) Determine how the strategies differ from those employed with the sighted students. c) Identify the activities visually impaired and students engage in to ensure the learning of a song. d) Outline how the lecturers' teaching strategies and students learning activities are integrated to ensure maximum benefit to the visually impaired students. The study targeted the voice-training lecturers, visually impaired and sighted voice students. The simple random sampling was used in selecting those that participated in the study. A total of 11 lecturers and 39 students participated in the study. Data was collected using three types of tools questionnaires, interview schedule and observation schedule. Interviews were recorded using a cassette tape recorder.Information from the interviews and the observation schedules were tabulated. The data analyzed using frequency tables and percentages. This revealed patterns, which described the level of integration of the visually impaired. The major findings of the study revealed that lack of proper teaching and learning activities, and methods like listening to the recorded excerpts acted as an impediment to effective teaching of voice. Inadequate time and regular training also lead to the lagging behind of voice students particularly the visually impaired. In light of these findings, recommendations for improvement and further course of action by appropriate authorities included: a) More time should be allocated for lecturer-student contact. b) Learning activities beyond lecture hour should be engaged in to enhance concept assimilation and skill development, for example, participation in group singing, choirs/ensembles and own practice with or without accompaniment. c) Training of music lecturers to handle visually impaired students and also to update music skills. d) Curriculum should be developed for voice as an instrument with graded teaching and learning material. Expansion of resources and provision of specialized material for the visually impaired students also to be included.
Text-Melody Relationships: Translation of European Hymns into Dho-Luo
(Kenyatta University, 2002-04) Omolo-Ongati, Rose A.
This study addresses the problem of translation of European hymns into Dho-luo with specific reference to text and melody relationships. It focuses on the introduction of western hymns into the Seventh-Day-Adventist (S.D.A) church and further discusses how the Luo performers have altered the European melodies and rhythms to fit the Luo performance practice. The research was carried among Dho-luo speaking S.D.A.converts of Rachuonyo District, Kendu Bay division, using the Gendia mission congregation. A total of 30 hymns from Wende Nyasaye have been analyzed. Simple Random Sampling technique was used to identify the 30 hymns. Primary data collection was done through participant observation, interviews and recording tapes. There is a brief discussion of the establishment of Adventism in Kenya (since 1906) and the history of the three phases of S.D.A. translation of European hymns into Dho-luo. The study has also given a detailed textual and musical analysis of the hymns sampled. The analysis reveals the existence of distortions and irregularities in terms of syllabic accents, speech rhythm and intonation in the translated Luo hymns. This is due to the fact that English and Dho-luo are completely different in the way they structure their sentences. Suggestions of possible correction of the distortions detected have been done using the rule of parallelism governing text- melody relationship of Dho-luo songs. The study established that the use of hymns with translated texts and borrowed European tunes are stylistically and culturally inappropriate to the Luo context, hence the call for the development of culturally appropriate songs to achieve the three components of high communication in African songs i.e. language, music and performance.
The place of music in the Catholic charismatic ritual healing: the case of Nakuru Holy Cross and Nairobi Holy Family Basilica core groups
(Kenyatta University, 2002-05) Kigunda, Bernard Muriithi
This study endeavored to determine whether music In Catholic Charismatic Renewal (CCR) ritual healing has any therapeutic value, It also sought to clarify the concept 'music therapy', Using the methods of observation and interview, the researcher investigated the place of IT/LIsic in CCR healing procedures. Music therapists have variously defined 'music therapy', but this study found their definitions of the concept deficient. This is due to their insistence that the professional rmusic therapist is the ultimate defining factor of music therapy. On the contrary, any use of music in the various culturally determined social settings that yields the healing of either or all the three composite parts of the human person, (namely: body, mind and soul) has been referred to, by this study, as therapeutic. In the light of the above clarification, CCR ritual-healing music was found to be therapeutic. III Catholic Charismatic Renewal as well as Guided Imagery and Music '(G1M), there is forming of images and changing of the levels of consciousness. Formed images, for example, in the form of visions, dreams and fantasies, can be experienced in 8n altered state of consciousness. These images help to resolve a struggle - by which case we mean any life experience that causes the sickness. The images have often led to an , . experience or spiritual meaning, where the individual concerned reaches the very deep part of him/herself in a mystical experience. This enriched by faith has been the cause of I healing in CCR as well as in GlM. This study contains evidence that music is central in each of,the vital processes of the -, CCR healing process namely: imagery; altered levels of consciousness, resolution of struggle, seeking of spiritual meaning and the enhancement of faith. Consequently, CCR "ritual healing is inconceivable if not impossible without music. The study therefore considered music to have therapeutic value in CCR rituals. Finally, the study found GIM and CCR ritual healing rather similar. The only considerable difference is that a trained therapist guides GIM, while the eCR ritual IS guided by a faith healer/minister. Since the end result is the same, the differences between GTM, which docs not exist in Kenya, and CCR rituals, may be described as culturally determined and so invalid.
Music as social discourse: the contribution of popular music to the awareness and prevention of HIV/AIDS in Nairobi, Kenya
(Nelson Mandela Metropolitan University Faculty of Arts, 2009) Gitonga, Priscilla Nyawira; Potgieter, Zelda; Brand, Mark
This dissertation is a critical, theoretical study focussing is on the contribution that popular music makes towards raising awareness and promoting the prevention of HIV/Aids in Nairobi, Kenya. Towards this end, an analysis of the lyrics and musical gestures of four Kenyan pop music songs is undertaken in order to highlight their communicative capabilities in this regard. These songs, namely, are Lulumbe by Wasike wa Musungu, Juala by Circute and Jo-el, Vuta Pumz by The Longombas, and Dunia Mbaya Chunguze by Princess Jully. The context in which these musical analyses occur is provided in: - An overview of the Kenya of today, in particular that of the diverse and hybrid ethnic, linguistic, musical and cultural practices of Nairobi, and of the various youth cultures in that city, as well as in an overview of the extent of the HIV/Aids pandemic in Kenya, especially amongst the youth of Nairobi, with some reflection on existing interventions. - An overview of current trends in popular music analysis and an explanation of the author’s own eclectic semiotic analytical methodology within this context. The study concludes that a repeating strategy may be discerned on the part of the composers and performers in question, namely, to first engage audiences through language and music with which they are familiar, and then to encourage audiences to confront the unknown and unfamiliar in music and language, but also ultimately in terms of their social practices. The known and the familiar is highlighted both in the lyrics and in the music itself. It includes use of commonlyspoken languages and dialects, popular musical styles typical of the particular sub-culture, and references to the day-to-day experiences of the ordinary person
Kenyan Folk Song as A Source of Compositional Inspiration: A Study on The Use Of Selected Folk Songs in Art Music
(2011-11-17) Njau, J. N.
Today, many factors such as technology, communication and social connections triangulate to make the world a global village. Numerous world cultures borrow from each other resulting in diversity and multiplicity of musical styles. In Africa, the processes of westernization and modernization have greatly influenced the society. Communities (people) have come into contact with each other leading to cross-cultural borrowing from each other through complex enabled relations. Consequently, socialcultural landscape has changed due to dynamic nature of development. Music, being part and parcel of culture, has not been left in isolation; but rather, has followed similar trends. This idiomatic borrowing of African musical traditions from foreign musical cultures has led to birth of hybrid music, which is as a product of the original and foreign. Among the hybrid genres, include popular music and African art music. This borrowing is in terms of rhythm, performance medium, notational systems and common-practice harmony, among others. It is imperative for scholars and researchers therefore, to document available information regarding African art music in terms of compositional process and the product. This can be made possible through research to determine dominant developments and techniques used for integration. More often than not through integration, folk music is raised to a higher level of appreciation recognizable by a people of its (folk music) origin as well as others. It also leads to more exposure to the music through performances making it readily available to a wider cross section of audience and music enthusiasts. These developments however, should not be done at the expense of its identifying characteristic-traits. This study therefore, was informed and driven by this desire to promote and propagate folk music for posterity and dissemination. Information was collected primarily from selected Kenyan art music composers by use of questionnaires to determine their broad compositional aspects. Content analysis of selected compositions was conducted to seek information on musical elements and devices used. Additionally, the researcher arranged music borrowed from folk tradition to validate views expressed by selected Kenyan composers. Qualitative method was used to document emerging themes, dominant perceptions and other related findings.
Music teachers' effectiveness in instructional delivery: a case of secondary schools in central province, Kenya
(2011-11-17) Monte, Patrick Ernest
This study proposed that learning music needs to be seen as an adaptive interface, which couples teacher and pupils' behaviours and attitudes, shaping a common interactive field of effective learning. Based on this framework, there is a changing landscape, which affects the role of the music teacher from the traditional imparter of knowledge to the active assistant who facilitates, advises, motivates and guides the pupils. The pupil changes from a passive recipient to an active participant within the classroom, receiving knowledge and simultaneously formulating his/her perspectives by creating, inventing, and inquiring. The wide varieties of musical activities, such as composition, performance, listening and appraising are influenced from the music curriculum, underpinning alongside the relationship between the music teacher and the pupils. The importance of the teacher in learning is central in music education, a common feature in most learning environments. Teachers are expected to provide instructional resourcefulness, through application of essential music skills of composition and performance to motivate learners to understand music. This study investigated how resourceful the Secondary School Music teacher is in instructional delivery in Central Province of Kenya. Aware of the important role of instructional resources, the study specifically sought: to document the available resources in secondary schools for music teaching and learning: to identify core techniques of instruction in music and to ascertain the characteristics of a resourceful secondary school music teacher. To guide the investigations and discussions, the study adopted the theory of Complimentary relationship of music experiences, supplemented by Social Learning Theory. The research method used in the study was descriptive survey, which targeted music teachers and students as respondents. A total of 34 schools with a sample population of 278 students and 36 teachers participated in the study. Data was collected from the respondents using questionnaires, interviews, and observations. Resultant data was analysed using frequency tables and percentages. The ultimate goal (consistent with research studies) was to answer research questions highlighted in the study, and to deduce summaries, conclusions and recommendations that are pertinent to the study. Findings of the study revealed that materials, facilities and equipment were scarce in some schools. Some of the facilities were out of order, out of tune and in a state of irreparable damage. In addition, these facilities were inadequately used. Other findings showed that music as a subject was not accorded its rightful place in the secondary school curriculum. There was an acute shortage of resourceful music teachers and lastly, instructional methods employed by music teachers were found to be irrelevant for resourceful instruction in music.
The role of tachnology in music education: a survey of computer usage in secondary schools in Nairobi province, Kenya
(2011-12-02) Achola, Malachi D.
Today's use of computer pervades all areas of our lives, including activities in institutions of learning. Beyond the very facility of computation, data management, word processing etc, computers have become essential in providing instructional effectiveness, planning, and generally challenging the learning environment. The application of computer technology in the field of education is rapidly gaining ground world over. The common modern technological tools available to music educators are computers and electronic keyboards among others. Computer technology is now an integral tool in all aspects of the musician's work be it composing, concert performing, teaching, recording, browsing the internet, researching, or managing a concert series. This study sought to find out the role of computer technology usage for music education in Kenyan secondary schools. The study aimed at surveying the use of computer technology for music education, and specifically sought: to determine the status of technology usage in music education in schools; to explore and outline the instructional prospects for computer usage in music education and to establish the role of computer technology in the teaching of music. The study employed descriptive survey research method. It targeted music teachers and students as respondents. A total of 14 schools (53%), 11 teachers (55%) and 155 students (62%) from the schools in Nairobi Province offering music participated in the study. Data was collected from the respondents using questionnaires, interviews, and observation. The numerical data from questionnaires was subsequently coded and analysed using Statistical Package for Social Sciences (SPSS). The major findings of the study revealed that computers and ICT are present and accessible to Kenyan schools but their use is not adequate for music education. Lack of competence among some music teachers and incoherent ICT policy hindered proper application of computer technology in the field of music education. In light of these findings, recommendations for application of computer technology in the field of education for improvement and further course action by appropriate authorities were made.
The contribution of hip hop to the construction of personal identities of South African female late adolescents
(Nelson Mandela Metropolitan University, 2012) Gitonga, Priscilla Nyawira; Delport, Aletta; Toni, Noluthando
Identity construction is an integral task during late adolescence. In this study, I argue that hip hop music contributes to the process of identity construction among female late adolescents. The contexts that the female late adolescent is exposed to affect her process of identity construction. These contexts include family, friends, peers, religion, and popular culture, among other things. Hip hop music forms part of present-day popular culture. Adolescents have access to this genre of music via the mass media and social networks. The aim of this study is to explore the nature of hip hop’s contribution to the identity construction of female late adolescents in South Africa. To this end, I engaged seven female late adolescents in several research activities, which enabled them to make sense of their perceived identities in the context of hip hop music. I then interpreted the participants’ stories, in order to understand the process by which hip hop had contributed to their sense of personal identity. The participants in this study were first-year students in the Faculty of Education, Nelson Mandela Metropolitan University, who were all in the developmental phase of late adolescence. Narrative inquiry and participatory research (PR) approaches were the preferred strategies of data generation. The data-generation techniques included the use of drawings and lyric inquiry. These techniques served to stimulate the generation of narrative data. They also provided frameworks within which the participants could engage with their sense of identity in the context of hip hop music. The research revealed that hip hop music does indeed contribute to the process of personal identity construction of the female late adolescents who participated in the study. It does so by compelling the adolescent to think about herself in relation to her continual self, which draws from her past, present, and future, her interactional self, both at the personal and social levels, and her situational self. The appeal of hip hop to her cognitive capabilities is enhanced through the strong link that hip hop has with her emotions. The significance of this study can be summarised in three points. Firstly, this study provides empirical evidence of hip hop as a meaningful resource for the female adolescent as she constructs her identity. As such, the findings of this study negate the public notion of hip hop as being a bad influence on young people, and provides proof of its significant role in the lives of South African female adolescents. Secondly, this study is important for education in South Africa. The significance of hip hop music in education settings lies in its fundamental communicative capabilities, which can be effectively utilised in the classroom situation. Thirdly, this study strengthens educational research in South Africa, especially research aimed at the liberation and emancipation of female adolescents in South Africa. In this regard, this study provides alternative methodologies of inquiry to conventional research strategies, such as questionnaires and surveys.
Bukusu litungu music: an aalysis, arrangement and creative composition
(2012-02-01) Masasabi, Abigael Nancy
The purpose of this study was to identify the fundamental characteristics of litungu music, arrange Bukusu litungu music and compose a creative work based on the litungu music idiom. Interviewing performers of litungu music and arrangers of Kenyan folk melodies, the characteristics of litungu music were identified and the arrangements were analyzed identifying their main characteristics as performed during the annual Kenya Music Festival. These characteristics were used to arrange a litungu music piece of festival standard and compose a creative work in the litungu idiom.
Expectations and perceived roles of the female musician among the Isukha
(2012-02-01) Bullindah, Jacqueline Zinale; Akuno, Emily Achieng; Kidula, J. N.
Studies carried out in various countries on music and gender portray women as people whose music making activists are dictated by their role and status in their various communities, among other factors. For example, women's dance styles have been perceived by scholars to reflect their sex roles. Campbell and Eastman (1984) for instance sat that among the Swahili of Kenya, women are taught dancing styles, which involve hip rotations, a reflection of their sex role. This study examined the implications of gender upon music composition and performance among the Isukha people, a sub-tribe of the Luhyia community of Western Kenya. It addressed explicitly, two central questions. First, to what degree does the Isukha community's gender ideology and resulting gender related behaviours affects its musical thought and practice? And second, how does music function in the Isukha community to reflect or affect people's attitudes towards women musicians. The study, in the long run, outlined the role played by women in music and articulated their values in music making. In the endeavor to achieve the above, a descriptive research design was adopted. Questionnaires, interview schedules, and observation schedules were used as research tools to get people's views, expectations and attitudes towards female musicians in the Isukha community. This resulted in a number of factors, which both directly and indirectly affect these women's music making activities. These, as shown in the study are a reflection of the society's perception of these women, both just as women and as women musicians. Their place in the society, their role and value in music making is also articulated.
The fuging technique on arrangement and adaptation of selected Luhya Folk Songs
(2012-02-01) Shitubi, Isaac Waswa
This study aimed at establishing the suitability of using the Western Fugal Techniques in arranging traditional luhyia folk songs/ tunes. The study involved carrying out interviews with composers/ arrangers to establish their background in music and their approach to arrangement of luhyia tunes. A total of twenty arrangers were interviewed. The researcher also recorded and transcribed eight short Luhyia folk tunes and analysed seven arrangements of luhyia folk tunes by selected Kenyan musicians. The findings of the study indicated that the use of Western techniques, in the case of this study, a fugue, on arrangement of African tunes distorted them. This therefore pointed the need for establishing original African Contrapuntal Techniques that can be used in arranging the Luhyia traditional folk tunes to help avert the misconstructions brought about by entirely using the Western Fugal Techniques.
Factors affecting student performance of Aurial skills at KCSE in Nairobi secondary schools
(2012-02-24) Mbeche, G. Cleniece
This study investigated the factors affecting the performance of aural at K.C.S.E in Nairobi secondary schools. The study was undertaken because of the continuous poor performance in the aural paper. The study sought to: a) Find out the extent in which aural training was given to secondary school music students. b) Find out which resources were used in aural training. c) Establish the methodology used in the aural training of music students. d) Determine if students engage in music making activities that could enhance their aural acuity. The study focused on the music teachers and music students. A total of 17 teachers and 69 students participated in the study. The simple random sampling technique was used in selecting those that participated in the study. Data was collected using four types of instruments. These were opinonnaires, questionnaires, interview schedule and observation schedule. The data was analyzed by using the likert scales, frequency tables and percentages. The Likert scales were used in gauging teachers' opinions regarding factors affecting aural performance. Students' questionnaires were analyzed by developing coding frames, which indicated the percentage of students who responded to each category of the coding frames. Information from the interviews and the observation schedule was tabulated resulting into patterns, which described factors affecting aural performance. The study revealed that lack of proper teacher training acted as an impediment to effective teaching of aural. Lack of adequate resources and regular training also lead to poor aural performance. Commencement of aural training began late which also led to poor performance of aural. From the findings of the study, recommendations were made which would enable the music teachers and educators to raise the standard of music education. Some of these were: (i) Music teachers should undergo proper training where they are taught various musicianship courses. Teacher training institutions should give adequate course in musicianship to equip the teachers with the necessary skills which they need for aural training. (ii) More resources especially textbooks should be provided for the teachers which indicate how aural training should be carried out to avoid misinterpretation of the syllabus by teachers. (iii) Due to lack of time for teaching aurals, students should be given a lot of work to do out of class. There should be a student's workbook, which the students can use out of class to ensure continuity in the aural training. (iv) Teachers need to begin aural training as soon as students arrive in the secondary school so that in four years time, they are adequately prepared to handle the aural section of the practical paper. There is also need to give aural training frequently as this enables students to perceive the various musical sounds.
Practice in music and movement: a study of music teaching in selected pre-schools in Nairobi province
(2012-02-24) Shiundu, Linnet Angogo
The purpose of this study was to investigate the practice in music and movement which goes on currently in pre-school classes/learning. The emphasis was to establish how music helps in learning and teaching all the activities in pre-schools. The study sought to satisfy the following objectives:  To find out which objectives of music and movement are applied in pre-school acitivities;  To identify proposed curricular activities in the guidelines of teaching and the actual curricular activities in class;  To determine the suitability or appropriateness of the music and movement activities;  To identify various problems of content activities and implementation.  To make recommendations for improvement and progress. The study was carried out in four divisions: - Westland, Kamukunji, Makadara and Embakasi in Nairobi Province. By means of questionnaire, observation and interview schedules, the necessary data were collected from a sample of four pre-schools in the area. The selection was done through systematic random sampling where the 21 public pre-schools were arranged in alphabetical order and every 6th school chosen. Data obtained in the study revealed that some activities were taught with music more than others. It was also found that lack of training in music and resources to get more relevant songs for each activity were the main weaknesses in effective teaching using music and movement. Further findings revealed that training the teacher had received and his/her interest in teaching affected the use of music activities for its effectiveness. Also the guideline book did not give much help, for it is not detailed. On the basis of discussion, findings conclusion and recommendations were generally made for the whole area of resources, facilities, quality of teachers and types of songs and dance that needed improvement. For further research there is need to look into the training of pre-school teachers in the use of relevant music in teaching other activities. Therefore, more research should be done on the training of pre-school teachers in colleges.
Factors affecting instrumental Music tuition in Kenyan secondary schools: a study of Nairobi province
(2012-02-24) Kahindi, A. W.; Akuno, Emily Achieng; Okafor, R. C.
This study examines the area of performance in music education. Music, being a creative art, requires certain activities to take each and every time it is heard. These activities, then, make music a living art. Performance is one of the activities that bring music to live. The study aimed at investigating the factors that hindered the tuition of Western music instruments in secondary schools in Nairobi Province, Kenya. Specifically, the study sought to; (i) Establish whether instrumental tuition took place in Kenya secondary schools. (ii) Investigate whether music instruments and other instructional resources were available for students' use (iii) Determine the extent to which the school programme supported the acquisition and exercise of skills and knowledge in music. (iv) Establish whether music teachers contributed to the choice and learning of music instruments. The target population was secondary school music teachers and Form Three and Four music students. Seventeen (17) music teachers and seventy-seven (77) music students were involved in the study. These were selected using both simple random and purposive sampling techniques. Two research instruments were used to collect data from the respondents. These were questionnaires and oral interviews. A portable battery-operated cassette recorder was also used to record the proceedings of the oral interviews. The data was analyzed and the results were presented in terms of frequencies, percentages and tabular representations. From the analysis and presentations, a number of findings were revealed. Among these were; inadequate tome allocation for music as a subject of study, lack of instructional materials, inadequate music instruments, lack of performing opportunities for students and poor planning of the tuition sessions all of which affected the tuition of Western music instruments in a negative way. In conclusion, a number of recommendations were made in relation to future research in music education. These were broadly classified into two areas, mainly, Planning and Organisation. They included, a review of the practical syllabus by the Music Curriculum developers as well as the as the organizing of seminars/workshops for music teachers countrywide so that they get a forum to exchange views on how to handle the specific areas of music education; accessibility to music instruments for all the music students; proper maintenance of available instruments in schools and proper structuring of the tuition sessions on the part of the music teachers of private tutors.
Voice tuition: a study of Music students' learning experiences, expectations and performance at Kenyatta University
(2012-02-24) Andang'o, Elizabeth J. A.
This study is about voice tuition at Kenyatta University. The students carried it out as a result of observations suggesting some apathy towards voice tuition. They appeared to have little interest in developing their skilled in voice. The current status of voice tuition was therefore explored, in terms of the actual practices being undertaken during teaching and learning. Renown authors have stressed the uniqueness of the human voices as an instrument, and its potential, which supersedes that of any other existing instrument. They strongly advocate for its study, while also cautioning tutors to teach correct principles to enhance its development. Two important principles to cultivate in students are practice and musical independence. Descriptive methods were employed to obtain the information. Questionnaires were given to voice tutors and students, soliciting information on the teaching and learning processes respectively. Interviews corroborated the information in the questionnaires. Forty-four students and five tutors made up the sample of the study. Data analysis was carried out using tables for the students and prose for tutors. The findings, also discussed in accordance with the objectives, compared voice tuition at Kenyatta University with findings of renown authors. Voice tuition at Kenyatta University was found wanting in important areas such as practice, performance within the university and the students' level of musicianship. The voice tutors acknowledged the need for seminars and workshops to equip them with more skills for teaching As a recommendation, an ideal situation in voice tuition was laid out so as to put the Kenyatta University situation in a clearer perspective. This touched on breathing attack, registration, resonance and articulation. In summary, although voice tuition at Kenyatta University is on the right track to success, much needs to be done to realize it.
Musical Composition: The merger of indigenous Abagusii and Western Classical Musical Idioms in the Arrangement and Composition of Contemporary Kenyan Music
(2012-03-21) Obaga, Andrew Oroo
This study was undertaken against the background that the Abagusii community has had contact with Western culture since the beginning of the 20th century through colonisation and missionary activities. It has been observed that the musical thought process and taste of the Abagusii contemporary musicians have changed due to practices related to Western education and Christianity. Musicians have attempted to give indigenous music of the Abagusii a new touch inclined towards the contemporary popular music and Western Classical styles. Most of the compositions in Ekegusii display the use of new melodic themes while employing Western musical instrumental idioms. However, the incorporation of the indigenous songs of the Abagusii as sandwiches in some of them was notably not effective. The indigenous songs were not integrated in the compositional styles. It was also noted that the resulting products of these efforts exhibited limitations that hindered effective integration of the indigenous musical idioms of the Abagusii and those of Western classical music. One of the hindrances noted, among others, was the general lack of scholarly documentation of the indigenous Abagusii musical idioms, which could be adapted and/or merged with Western musical idioms in contemporary musical compositions, without upsetting and/or alienating the idiomatic musical elements of the indigenous music of the Abagusii. As a response to the situation cited above, this study was designed to establish guidelines for the composition of music using indigenous Abagusii and Western Classical musical idioms. The procedure was to collect transcribe, and analyse the indigenous songs of the Abagusii in order to: identify the characteristic indigenous musical idioms of the Abagusii; identify compatible elements of the indigenous Abagusii and Western Classical musical idioms; determine the applicability of the indigenous musical idioms of the Abagusii within parameters of contemporary musical styles; arrange and create pieces of music by merging indigenous musical idioms of the Abagusii with those of the Western Classical tradition. The study was guided by the theories of Systematic descriptions and Syncretism, which facilitated the identification and selection of compatible musical idioms of the indigenous Abagusii and Western Classical music and their merging in the creative arrangement and composition in the contemporary Kenyan style. The field study was carried out in Bonchari of Central Kisii District, where songs were collected by recording live performances by a cross-section of members of the Abagusii community. After transcription and analysis of the indigenous songs, a comparative study of the same and Western Classical music was made, leading to the identification of musical idioms that were either similar or different. This facilitated the identification of those that could be borrowed and merged for creative musical works in contemporary styles. The merger was then done through two pieces ofmusic: an adapted arrangement "Nyariancha Kerubo' Michira!" and an original composition "Nyasae Tata ere Omotongi". The creative works that have resulted from this study provide useful information on techniques and guidelines that can be used in the merger of indigenous Abagusii and Western Classical musical idioms. Furthermore, they have added to the repertoire of Kenyan art music of the Afro-classic genre. They will also serve as reference material for comparative musical analysis, research and composition to scholars, teachers and students in high schools, colleges and universities. Finally, this study has provided scholarly guidelines on how to achieve this unity in diversity, which would contribute to the promotion and preservation of not only the Abagusii musical heritage but that of other Kenyan communities as well.

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