MST-Music

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Adaptation of Traditional Music Idioms to Enhance Contemporary Music Styles: A Case of Selected Fusion Musicians in Kenya
(Kenyatta University, 2022) Ashene, Emmanuel Wanguba; Njoora, Timothy K.; Wanjala N. Henry
It is an assumed philosophy, that every musical idiom is, largely, defined by its cultural and sociological context. The use and function of traditional music world over has inherently been associated with audiences of different age sets influenced by beliefs for aesthetic experiences. However, with the increasing dynamics in music styles and diversified genres of music in the world today, musicians have discovered possibilities of developing and repackaging traditional music genres into new forms of authentic contemporary music to cater for new audiences. The main concern raised in this study sought to establish dynamics involved in crossing over of traditional music idioms into contemporary music styles through the processes of borrowing, incorporation, enculturation, integration and establishing the potential cultural identity risks encountered during the crossovers. The study was inspired by the need to understand how musicians engage in cross-cultural music, a process likely to reveal technical challenges in aspects related to compatibility, and hence possibilities of influencing the cultural significance. The main objective for this study was to identify and investigate the performance approaches used by fusion musicians in Kenya. The study was to also suggest a guide explaining how to incorporate traditional music idioms with contemporary music. The social exchange theory on tangible and intangible social activities as developed by Farganis was central in explaining the dynamics involved in the transformational process of music adaptation in this study. The study engaged fusion musicians who were actively involved in Kenya’s music performance scene. The locale of the study was Nairobi City County and its environs. The research technique entailed making use of scheduled interviews, observations of performances, administration and collection of questionnaires data from fusion musicians. A qualitative approach was used to analyze data related to the sample of fusion musicians to establish the outcomes, which helped to address the major study concerns. The Data collected was analyzed using thematic and content analysis to solicit responses to the study research questions.
The affective domain of music: factors affecting musical aesthetics among some Kenyatta University students
(2012-05-04) Muuya, Jacqueline
The purpose of the present study was to investigate which factors affect Music appreciation among Kenyatta University Students. A total of sixty respondents, aged between 17 and 25 years taken from the first year of study, were selected from six disciplines in the three faculties in the University, for the research sample. Data was obtained by means of a questionnaire, coupled with taped music specimen, as primary sources. Secondary sources included interviews, and behavioral observations. No scientific measurements of musical qualities were used for the study. Data obtained from the study revealed that the respondents preferred soft, soothing, easy-flowing, expressive music to loud, noisy music. Further findings revealed that the respondents' internal mood effects and facial expressions varied considerable between the periods prior to and immediately following the playing of the music excerpts used to test their aesthetic reactions. Additional findings revealed that Music was seen to be a means of communication and a vehicle of expression for various musical components including melody, rhythm, and texture. Music was also seen to consist of : (i) The production and appreciation of organized, pleasant sounds peculiar to every culture, and (ii) Sounds used to excite an individual's dreams, cultural expressions and experiences, and his perceptions about life. Generalizations can be made regarding persons of the same age-bracket even though these persons may not necessarily be University Students.
African art songs in Nairobi: investigating musical idiomatic expressions in performance practice
(Kenyatta University, 2017-10) Makobi, Sylvester Matete
The purpose of this project was to investigate musical idiomatic expressions in the performance of African art songs in Nairobi. The interest of the study came up after a voice recital was presented, and a variety of African and Western art songs were performed, but there was no clear distinction between the performance of the African and Western art songs. A cross section of the audience was in essence left wondering what could then define performance practice of an African art song. The study was guided by the following questions: (i) What are the characteristics of African art songs? (ii) How does the piano part enhance African musical idiomatic expressions in African art songs? And (iii) What is the performance practice of African art songs? “The African Pianism Theory” by Akin Euba and “The Theory of Musical Competence and Interaction” by Benjamin Brinner guided the study. The study was based on qualitative research method. Interviews and questionnaires were used to collect primary data from classical singers from Nairobi, composers of African art music, music heads and classical music educators. Secondary data was collected from library research and through content analysis of the selected African art songs performed during the recital, guided by an analysis schedule. The sampling methods used include purposive sampling and snowball sampling. The purposive sampling method was used for sampling the music heads. After getting interviews with the music heads, the snowball sampling technique was used in the rest of the study. The responses from the questionnaires and interviews were coded and analysed for detection of similarities and differences. The data was organized in line with research objectives. The study found out that the African art song is a growing genre and is approached from different angles. Some composers and singers lean more towards Western classical music; others lean towards African traditional music while others are in between. However, the African idiomatic expressions connected to African music include; the use of African languages or influences of African languages to the language used, use of African rhythms or rhythmic character, the simulation of African instruments, the use of performance practice borrowed from African traditional music such as costume and dance, dialogue between the piano and voice for instance by the use of solo/ call and response, repetition of phrases and verses, the use of African melodies and harmony through direct borrowing or adaptation and arrangement of folk songs or the use of African scales. The findings of this study are useful to music scholars, music curriculum planners, vocal pedagogy teachers, voice teachers, vocal coaches and classical singers. Some of the recommendations of the include; first, creation of more workshops and lecture recitals for African art song composers to share ideas on how to unify the genre and for students and the public to get more acquainted to the genre. Second, documentation and more publishing of African art songs. Finally, further investigation on how the intricate rhythms of African art songs are transcribed, such as ululations, yodelling and chants.
Afro-Classics from Kenya: a special case of the Luo: 1. Nyar Jodongo, 2. Orutu Overture.
(2012-05-08) Ogalo, Elly Osote.
The study aims at establishing various aspects of Western music that could merge with aspects of Luo music to objectively produce arrangements and compositions of Afro-classic works. Aspects of the two cultures were identified, established, and merged. These included melodic line, intervals, rhythms and note groupings. Some aspects of music that were necessary from the works but were absent in music of either culture were incorporated. For example, harmony, dynamics, notation, bars and bar lines, time signature and tempo (Western); speech rhythm and syllabic accents (Luo). Chapter One, the general introduction deals with the statement of the problem, objectives, rationale, scope and limitation, theoretical framework, literature review and methodology. Chapter Two discusses composition as an art in music creation. Chapter Three is the creative arrangement, Nyar Jodongo; the choral work. In the work attention has been put on the syllabic accent and intonation, which govern the pronunciation of Luo words. The voice parts are written to adopt the traditional flow of the Luo syllables. Chapter Four is the creative composition, the Orutu Overture. This is an instrumental work where the luo and Western musical aspects are merged. Finally, Chapter Five gives a brief summary and conclusion on the merger of the Luo and Western musical aspects for arrangements and compositions.
Art Music Contributions Inspired By Kenyan Folksong Repertoire: A Case of Innovation Drawn From Samia Children Songs
(Kenyatta University, 2019-06) Buyiekha, Esther Petronila
Today, influences such as globalization, urbanization and technology have led to fast-changing trends in music. Often, social occasions that were traditionally set apart with a view to learning and engaging with cultural activities such as children game songs and other types of songs have been replaced with other social activities such as media entertainment, sports, holiday travel and other contemporary activities. One of the negative outcomes of modernization and urbanization is that former social activities for instance, performing game songs, story-telling and role modelling become less attractive and practice of such activities gradually becomes extinct. Yet, this oral tradition is a powerful tool for the transfer of societal knowledge, skills and values, which should, therefore, be preserved for future generations. However, to counter this negative development, some composers have created folk–based works for public sharing. From the review of related literature, it was evident that in Kenya, little effort had gone into composition of art music inspired by children folk songs. The aim of this study was to fill this gap through collection, transcription and analysis of selected children folk songs which were further used to create art music works. The study aimed to explore Western classical musical features compatible with Samia idiom to enable creation of art music, examine dominant features from Samia children folk music for compositional and arrangement ideas, and expose selected Samia children folksongs to the world of art music. The development of this new culture of art music had to however preserve the identity of children folk songs. Review of related literature covered: Childhood experiences with music, the role of music in the traditional culture and composition as a creative process. The study was conducted in Samia District of Busia County. The target population was Samia culture bearers, primary school teachers who trained children to perform folk songs for competitive and non-competitive festivals, pupils who participated in children folk songs, composers of art music, and children folk songs. Snowball and Purposive sampling were used to collect children folk songs from rural locations among children who currently participated in Samia oral tradition. Data were collected by use of questionnaires, interview schedules, focus group discussion, observation schedules, and recorded via tape and video recorders. Data analysis was approached through melodic, rhythmic and harmonic content in children folk music. Interviews were analyzed through reading and re-reading, comparing and scrutinizing respondents' written verbatim transcripts to identify recurrent themes. The study revealed that there were a lot of similarities between Western classical and African music idioms. In addition, Samia children folk music had dominant musical features which enabled the composition of art music. The compatibility of Western and African music idioms enhanced the fusion of the two cultures in the composition of art music. The study also established that majority of composers had not written art music based on children folk music compared to adult folk music. The study, therefore, was expected to promote and propagate art music based on children folk songs for posterity.
Availability and use of teaching and learning resources for music education in Kenya: a survey of secondary schools in Nairobi province
(2012-04-20) Digolo, B.A.
This study investigated the availability and use of teaching and learning resources for music education in secondary schools within Nairobi province of Kenya. The study was necessitated by an urge to carry out an in depth investigation on the state of teaching and learning equipment and facilities in the schools in order to establish the limitations that hinder their acquisition and utilization. Specifically, the study sought to; a). Determine what resources were available for teaching and learning music in the secondary schools. b). Find whether the available resources were adequate for use by the students and teachers. c). Establish the extent to which the available instructional materials were used in the teaching and learning process. d). Determine factors that affect the acquisition and use of the teaching and learning resources; e). Ascertain whether any relationship existed between the use of instructional resources and students learning and achievement in music. The study targeted the head teachers, music teachers and music students. A total of 26 head teachers and deputy head teachers, 27 music teachers, and 330 music students participated in the study. The simple random sampling technique was used in selecting the respondents that participated in the study. Data was collected from the respondents using three types of instruments, namely, questionnaires, interviews, and observation. The data was analyzed using frequency tables, percentages, and the chi-square (x2) test. The frequency tables and percentages were used in analyzing the availability, adequacy, and use of the instructional resources. Variables such as teacher qualification, experience, attitude and student achievement were subjected to the chi-square (x2) test to determine their relationship with the use of instructional resources. The major findings of the study revealed that essential teaching and learning resources for music education were either inadequate or not available at all in most of the secondary schools. The insufficiency of the resources was established to be a serious drawback to student learning and achievement. Lack of competence among some music teachers hindered proper utilization of the instructional resources. In light of these findings, recommendations for improvement and further course of action by appropriate authorities were made.
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.
Challenges Faced By Music Learners with Cerebral Palsy: A Case of Joy Town Secondary School for the Physically Impaired, Kiambu County, Kenya.
(Kenyatta University, 2019-05) Kiburu, Elizabeth Wangui
This study was designed to investigate the challenges facing music learners with cerebral palsy (CP) in Joy Town Secondary School for the physically impaired in Kiambu County Kenya. It had been observed that interest in learning music diminished among learners with cerebral palsy as they proceeded from form one to form two. This prompted the interest to carry out a research on the causes of these changes in interest in music for these learners. The study investigated the challenges that led to the loss of interest in music among learners with CP in Joy Town Secondary School for the physically impaired. It sought to identify challenges and ways of sustaining music interest in learners with CP in this school. Joy Town was selected as it is the only special secondary school that offers music as a subject in Kenya. It currently also accommodates learners with physical challenges including CP. The concern was to interrogate the reasons why their musical interest changed as they got to form two. The main objective was to seek for information on how these learners could be assisted to overcome the challenges they faced in pursuing music in Secondary School. To achieve this objective, the study employed a descriptive research design because it sought to get a clear picture of the situation, attitude and behavior of individual students with CP. The study was guided by the Education theory of interest (1983, 1992) and Alderfer – ERG theory of learning (1969). These are significant theories in addressing the interest in learning and motivation of learners respectively. It was also guided by Human Rights model that builds upon the spirit of universal Declaration of Human Rights which declares that all human beings are born free in right and dignity. The study considered an estimated target population of 197 students and 17 teachers. However it was noted that not all students suffered from CP, therefore a non-probabilistic sampling technique was applied to select a sample of 48 students for the study. The sample size also included 17 teachers. Data was collected through interviews and questionnaires. The data gathered was analyzed using qualitative approach and the findings presented using tables, charts and graphs where it was applicable. To compute the data the statistical package for the social sciences (SPSS) was used for data analysis. Challenges faced by CP learners included: lack of appropriate music foundation for this group of students in the primary school, complex subject content considering their physical challenges, teachers, parent/their peers, attitude towards them pursuing music, a wide syllabus and limited time in teaching and learning music. Recommendations included: re-evaluation by policy makers and curriculum developers; to restructure the music curriculum to make it compulsory and examinable from the primary school; to adapt the music syllabus in order to accommodate the needs of learners with CP; Ministry of Education science and Technology through music educators and musicians to sensitize parents, teachers and students on the importance of music in schools and especially to learners with CP. The conclusion was that the challenges faced by music learners with CP influenced their interest in music and this in turn discouraged them from pursuing the subject. However with the various strategies put in place they could be assisted.
Compositional Strategies Dominating Zilizopendwa Choral Arrangements: Stylistic Analysis of Selected Works by Kenyan Composers towards Creative Output
(Kenyatta University, 2022) Etyang’, Franklin; Timothy K. Njoora
A musical style which later became popularly dubbed ‘Zilizopendwa’ has existed in Kenya since the 1950s yet its popularity among the 21st century generation of musicians and music lovers continues to grow, a phenomenon attributable to the creative transformation that has led to its new acceptance as a purely choral form, distinct from its original medium of performance which consisted of a basic popular band with vocalists. This study focused on stylistic approaches and expressions displayed by composers and arrangers of Zilizopendwa in the Choral Arrangements for Secondary School Choirs in the Kenya Music Festival (KMF). Specifically, the study interrogated the creative (compositional) strategies employed by arrangers of this modified choral arrangements. The study is premised on the componential theory of creativity by Amabile (2012) and Middleton’s (1990) concept of appropriation. The study sought to: establish dominant stylistic approaches of composition and arrangement that composers employ in re-enacting Zilizopendwa music idiom at the KMF; outline creative approaches drawing on extant stylistic models and the dominant stylistic approaches used by composers and arrangers; and arrange selected Zilizopendwa songs for unaccompanied voices. The study employed the descriptive and creative research designs. The target population was arrangers of Zilizopendwa for the KMF performances and their choral arrangements of Zilizopendwa presented at the national level of the festival. Purposive and stratified sampling techniques yielded the required respondents and their music scores. Data were collected through (i) document review (content analysis), (ii) questionnaires on purposefully selected composers, and (iii) Focus Group Discussions involving the selected arrangers of this genre. Research instruments included analysis schedules, questionnaires and interview schedules. Qualitative data collected were analysed through the descriptive methods to filter emerging themes and issues. The findings were presented in a narrative format. The study found out that the arrangers of Zilizopendwa choral music capture the life force of the original popular song by creatively manipulating various critical elements such as tonality, melody, rhythm, harmony, texture, structure and textual themes. Furthermore, the established practices in the arrangement of Zilizopendwa music within the constraints of the various music festivals in the country serve as the ‘nondocumented model’ which guides future composers in their creative undertakings. The findings of this study are expected to lay ground for interrogation of existing techniques in arrangement of Zilizopendwa as well as to propose directions for enhancement of arrangement approaches for Zilizopendwa and other genres to benefit future creative representations / explorations.
Compositional Strategies Dominating Zilizopendwa Choral Arrangements: Stylistic Analysis of Selected Works by Kenyan Composers towards Creative Output
(Kenyatta University, 2021) Etyang’, Franklin; Timothy K. Njoora
A musical style which later became popularly dubbed ‘Zilizopendwa’ has existed in Kenya since the 1950s yet its popularity among the 21st century generation of musicians and music lovers continues to grow, a phenomenon attributable to the creative transformation that has led to its new acceptance as a purely choral form, distinct from its original medium of performance which consisted of a basic popular band with vocalists. This study focused on stylistic approaches and expressions displayed by composers and arrangers of Zilizopendwa in the Choral Arrangements for Secondary School Choirs in the Kenya Music Festival (KMF). Specifically, the study interrogated the creative (compositional) strategies employed by arrangers of this modified choral arrangements. The study is premised on the componential theory of creativity by Amabile (2012) and Middleton’s (1990) concept of appropriation. The study sought to: establish dominant stylistic approaches of composition and arrangement that composers employ in re-enacting Zilizopendwa music idiom at the KMF; outline creative approaches drawing on extant stylistic models and the dominant stylistic approaches used by composers and arrangers; and arrange selected Zilizopendwa songs for unaccompanied voices. The study employed the descriptive and creative research designs. The target population was arrangers of Zilizopendwa for the KMF performances and their choral arrangements of Zilizopendwa presented at the national level of the festival. Purposive and stratified sampling techniques yielded the required respondents and their music scores. Data were collected through (i) document review (content analysis), (ii) questionnaires on purposefully selected composers, and (iii) Focus Group Discussions involving the selected arrangers of this genre. Research instruments included analysis schedules, questionnaires and interview schedules. Qualitative data collected were analysed through the descriptive methods to filter emerging themes and issues. The findings were presented in a narrative format. The study found out that the arrangers of Zilizopendwa choral music capture the life force of the original popular song by creatively manipulating various critical elements such as tonality, melody, rhythm, harmony, texture, structure and textual themes. Furthermore, the established practices in the arrangement of Zilizopendwa music within the constraints of the various music festivals in the country serve as the ‘non-documented model’ which guides future composers in their creative undertakings. The findings of this study are expected to lay ground for interrogation of existing techniques in arrangement of Zilizopendwa as well as to propose directions for enhancement of arrangement approaches for Zilizopendwa and other genres to benefit future creative representations / explorations.
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.
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 a post secondary music training program for the entertainment sector
(2012-04-04) Ng'ang'a, Carol Njeri
This study investigated the training programmes of 2 private music schools in Nairobi Province of Kenya and also personal information and training of practising musicians. The study sought to find out what training programmes existed in the private music school and also to determine if the training programmes were adequate in catering for the society's demand for highly trained and versatile musicians to cater for the entertainment sector. This study revealed that the two private music schools investigated had no structured programmes and that lessons tended to be idiosyncratic with every teacher designing his or her own programme. It also revealed that most practising musicians were self-taught. Purposive sampling method was used in selecting the respondents from the private music schools and also in selecting the practicing musicians. Data was collected from the respondents using three types of instruments namely; questionnaires, interviews and observation. A descriptive analysis of data was done and written down in essay form. Chapter One of the project gives the background to the study. It also includes the statement of the problem, objectives, research premises, conceptual framework, scope and limitation of the study, literature related to the study and the methodology used in the study. Chapter two presents information on training programmes of two private music schools and personal information and training of practicing musicians. Chapter three presents the design of a post-secondary music training programme. Chapter four contains the summary, conclusion and recommendations of the project.
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.
Dichotomy of high piano student enrolment compared to low retention of proficient pianists of Wakiso and Kampala districts in Uganda
(2014) Mubiru, Michael Efraim
The study examined piano performance in Uganda, with specific reference to enrolment and retention of proficient pianists. The report makes the submission that regardless of the high student enrolment in various music schools and centres today, only a small number of proficient pianists manage to stay in the field of performance as professional pianists who depend on their performance for careers. The study established why such an insignificant number of Ugandan pianists venture into the world of piano scholarship and performance, The study was guided by the following objectives: to establish factors influencing the students' training in piano; to ascertain factors that influence students either to continue or not to continue as practicing pianists and to establish hindrances which students encounter during training that prevent them from getting prepared for the demands of the job market. The study followed the "Constructivism" of learning theory by Glasersfeld (2012) that deals with the way people create meaning of the world through a series of individual constructs. The study estimated a target population of 139 respondents (music students and teachers). Nevertheless, it considered 65 informants after realizing that not all music students pursue piano as their main instrument. A non-probabilistic sampling technique was applied to purposively select a sample size of 44 respondents for the study. This included 11 piano instructors (teachers) and 33 piano students (current and dropout students). The data was collected using questionnaires (open and close ended), interviews (face to face) and focus group discussions. Subsequently, the gathered data was analysed using the qualitative approach to data analysis where the findings were presented using codes, tables, figures and charts where applicable. The data was analyzed using the descriptive statistics where figures and percentages were employed. The study established that the students' learning process was challenged by various factors such as lack of enough time for piano lessons and practices, the gaps in the syllabi and inadequacy of facilities for piano lessons. In addition, the study realized that teachers had not concretely engaged parents and school authorities into the teaching process which affected the instruction and learning process by creating vacuum in the training procedure. As a way of enhancing the training procedure of pianists and their retention into the field of performance, the study was to avail different insights to piano students, teachers and policy makers. The study made the following recommendations; there is a need to revisit the NCDC syllabus, the government through the Ministry of Education and Sports (MoES) should make a policy that instructs school authorities to provide equal time and treatment for music as other subjects and there is need for only qualified piano teachers to handle piano teaching for proper skill development. xiii
The drum in the traditional music of the Amiiru
(2012-05-16) Murungi, Blaise Nyaga
This study deals with the drum in the traditional music and dance of the Mííru People. The drum will be found in the border areas of Mííru but not in the interior of it. Border areas from about one third of the total area of habited land of the district. What has contributed to this phenomenon? This is the problem we have to address ourselves to in this study. The following assumptions were postulated at the initial stages of this thesis. (a) The whole of Mííru had drums originally, (b) There were drums in the places with them today, and those without them have had no drums all through. Using the Kulturkreis theory which states that the distribution of cultural traints indicates not only former cultural contacts but also strata of cultural history, We have gone into the exploration of the problems in the historical perspective. In this we shall look into the origin of the drum music in Mííru. Schneider (1957), Adds that the kind of culture determines musical style, that is, what music. This prompts the consideration of social uses, functions, the beliefs and values associated with them. By combining these and other facts, we shall enter into the discussion on the drum in Mííru music tradition. We shall first undertake to understand who the Mííru people are in relation to other ethnic groups of Kenya. The Amiiru are a Bantu people living on the slopes of Mt. Kenya. The District has a dense population of about 1.3 million people. According to Fadiman, (1976) and Bernardi (1957) the Mííru have a coastal origin. It is believed that they migrated from the Coast (Mbwa) on Manda Island. The Coast, being a rich area in drums is probably the origin of the Mííru drums. Could they (the Amiiru) have borrowed their drums from the neighbouring Mbeere and Kamba ethnic groups? The Mííru have a strong and varied musical heritage. Apart from the folk music which is practiced today, other forms of music can be found. There is also the music which has been brought in from other African and Western countries. Our interest lies in the traditional music which includes vocal, instrumental and dance music. Other forms are taken into consideration too. There are many musical instruments of different types. Most of them are of the percussive category. The most widespread instruments is the Kíbeere (legbell) Drums, which are the main concern of this dissertation are found in some places and not in others. The drums of the Amííru are the Kíempe of Igembe and Ntonyiri divisions (of. page 97), the nkuutha of Tharaka (of. page 115), and the gíembe of the Imenti (of. page 102 and the mwínjíro drum of the Chuka of page 101 Each of these drums has been considered separately putting into consideration manufacture, tuning style, and of playing. Drums have different functions in Mííru. The main function is the musical function where a drum can have a primary or secondary role. In the primary function, drums play the major accompanying role in the music. It is the instrument that provides the basic rhythmic beat of the song or dance. In its secondary function, other instruments take the primary role and the drum becomes a subordinate instrument in the music. Other functions include the extra-musical roles where the drum is used either, purely for social purposes or where a musical performance will follow a given social act. Drums are used in traditional dances. These dances have been explored in relation to the musical functions of the drums. The drum plays an accompanying role in the dances. However, in Mwínjírí drum dance, it is not used as an accompanying instrument. It provides instrumental music, which is at times accompanied with dancing and singing. What is unique about the Mwínjírí is that the performer sings, plays and dances. All these roles run concurrently. In this section, the choreography of the dances is given, followed by notated rhythms of the drum dance. Finally, the theory of the distribution of drums in Mííru is considered. Not only does this section tell where drums will be found in Mííru, but also the factors contributing to the lack of drum the 'other instrumental dominance', religion and politics, style of performing, cultural and social changes, traditional warfare and the settlement scheme phenomenon have been explored. The thesis ends with a summary of the whole work. Conclusions have been drawn from the empirical data, which the researcher has been able to gather in the field. These have been based on the evidence from other sources also, like the little documented sources, which however, had very limited contribution to the exploration of the topic of this study. As such, most of what appears is the researcher’s findings
Ethnic music in christian worship: a study of specific aspects of Akamba traditional music in the liturgy of the catholic church in Mwingi deanary
(2012-04-10) Katuli, John Kilyungu
This study addresses the problem of enculturation and integration of Akamba traditional music into the liturgy of the Catholic Church. It tries to identify the specific aspects of Akamba traditional music that have been incorporated into the liturgy. The concentration is on eighteen stations selected from Mwingi Deanery of Kitui Diocese. The data was acquired through observation, interviews, library and archival resources. The study establishes the history of the Catholic Church in Kitui and the practice of music before and after the second Vatican Council (1962-5). It also considers the efforts of the church to make singing more relevant to the Akamba members of the congregation. Different genres and instruments of Akamba traditional music are discussed. Melodic and rhythmic structures, instruments and performance practice are presented as aspects of Akamba traditional music incorporated in the liturgy. However, not all aspects of the Akamba Traditional music have been integrated into the liturgy. In conclusion, a summary of the research findings, recommendations and suggestions for further research are given.
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.
Exploring Alternative Strategies for Teaching Music Theory and Aurals to the Hearing Impaired Learners in Kakamega County, Kenya
(Kenyatta University, 2020) Omari, Lycmas
Education for all (EFA) is a global commitment established in the year 2000.Vision 2030 also advocates for Education as an important pillar in development. The Government of Kenya has introduced free and compulsory Education. Learners with hearing impairment (HI) however do not learn music as a subject. This study aimed at filling this gap by exploring strategies to be used to teach music to learners with HI. The objectives of the study were to: establish the challenges likely to be experienced by learners with HI while learning Music theory and aurals; analyze pedagogical challenges likely to be faced by music teachers of learners with HI in teaching music theory and aurals; and to explore strategies to be used in teaching music theory and aurals. Purposive, stratified and random sampling methods were used to select target respondents. 2 primary schools and 2 secondary schools all from Kakamega County were sampled for the study. In addition, Mumias Education Assessment Resource Centre (MEARC) was used to provide information on the selection and placement procedure of learners with HI. 80 students from each targeted institution were sampled for the study. In addition, 5 administrators from institutions of learners with HI were interviewed. The study employed descriptive and experimental research designs. Data was collected using questionnaires, observation schedules, and interview schedules and then presented using charts and tables. The questionnaires, observation and, interview schedules were administered to learners with HI, their teachers, and MEARC officers. Some learners were subjected to selected teaching strategies (experimental group) and other learners not subjected to those teaching strategies (control group). Validity was ensured by using respondents versed with special needs education. Instruments for study were tested through piloting with few respondents. The experimental design targeted relevant respondents (HI).Music equipment used was tuned well to give correct pitch. Data was coded and presented using tables, figures and graphs. Collected data was subjected to content analysis in which triangulation was employed to get views from different sources. The major findings of the study are: learners with HI have a lot of potential in music and therefore can do music as a subject; assessment of learners with HI plays a big role in their learning ability; the learners with HI can substitute their sense of hearing with their sense of sight, feel and touch to learn music theory and aurals; and, teachers of learners with HI are not trained in the subject of music. The study recommends that: The learners with HI should be provided with adequate teaching and learning materials in Music; they should be given an opportunity to study music as a subject; KISE should introduce Music as a subject; and, KICD and KNEC should incorporate concerns of the HI in their syllabi. It is hoped that findings of this study will be beneficial to Curriculum developers (KICD), teachers, EARC officers, and learners with HI in regard to teaching Strategies for learners with HI. The study concluded that the hard of hearing (HOH) and the partial hearing impaired (PHI) learners are capable of studying music as a subject.
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.

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