Browse
Recent Submissions
Item 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. HenryIt 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.Item Compositional Strategies Dominating Zilizopendwa Choral Arrangements: Stylistic Analysis of Selected Works by Kenyan Composers towards Creative Output(Kenyatta University, 2022) Etyang’, Franklin; Timothy K. NjooraA 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.Item Compositional Strategies Dominating Zilizopendwa Choral Arrangements: Stylistic Analysis of Selected Works by Kenyan Composers towards Creative Output(Kenyatta University, 2021) Etyang’, Franklin; Timothy K. NjooraA 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.Item Impact of Curriculum Review Policies on Music Teaching and Learning: Case of Public Primary Schools in Kiambu County, Kenya 1999-2019(Kenyatta University, 2020) Khaemba, Samwel SimiyuThe place of music in the Kenyan curriculum of education has for long not been assured as a result of curriculum review and changes. In order to understand how Kenya’s Curriculum Review Policies have impacted the stakeholders in the Public Primary Schools, this study examined the influence of Kenyan education policy and commissions of inquiry into the education system on the attitude /perception on the teaching and learning of Music as a subject in public primary schools in Kenya. This study identified its statement of the problem as being the various changes in the music curriculum whose impact has not been fully analyzed in literature thus creating a gap as to the relevance of these changes to the overall learning experience in public primary schools. This study sought to achieve the following objectives: to establish how the various music curriculum reviews have influenced classroom behavior and overall learning of music in PPS in Kiambu County; To determine how the music curriculum review and changes have affected the morale, performance and state of music in PPS in Kiambu county and; to explore strategies for better teaching and learning of music as a subject in PPS in Kiambu County. The study is significant as it contributes to knowledge by filling the present gap in literature on how music curriculum changes have affected the teaching and learning of music. Policy makers and scholars can therefore have a vital resource to rely on. The study employed the Functionalist Approach to Attitude Formation and change which suggests that attitudes impel people to react to objects, situations, or propositions in ways that can be called favorable or unfavorable. The study correlated the influence of Curriculum Review Policies (independent variable) as it affects the state of music in PPS, which is the dependent variable. A descriptive Research Design was chosen because it enabled the researcher to present the various opinions and attitudes from the subjects in the most effective way. For purposes of gathering objective data, the study employed participant observation of pupils, questionnaires and interview schedules as primary data collection tools with the findings being complemented by secondary data collected from journals, books, policy documents, and online sources. The research employed purposive sampling technique to select respondents based on the characteristics of a population and their level of engagement with music education curriculum. The study chose as its area of study Kiambu County (Kenya) because it has Public primary schools that have been in existence long enough to have been affected by the Curriculum Review Policies changes. This study shed light on the influence of policy on classroom behavior and the overall learning of music. The study therefore, provides a timely insight into this problem with a view to re-defining learning and teaching of music in the Kenyan public primary schools by proposing measures that are responsive and inclusive of the end users of any music policy. The study revealed that a majority of the respondents were in agreement as to the negative impact of the various music curriculum changes on the overall learning of music and on classroom behaviour. There has also been a marked decline in the place of music in the PPS education curriculum, a situation that has had a negative impact on the attitudes of teachers and pupils towards music.Item Exploring Alternative Strategies for Teaching Music Theory and Aurals to the Hearing Impaired Learners in Kakamega County, Kenya(Kenyatta University, 2020) Omari, LycmasEducation 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.Item Impact of Curriculum Review Policies on Music Teaching and Learning: Case of Public Primary Schools in Kiambu County, Kenya 1999-2019(Kenyatta University, 2020) Khaemba, Samwel SimiyuThe place of music in the Kenyan curriculum of education has for long not been assured as a result of curriculum review and changes. In order to understand how Kenya’s Curriculum Review Policies have impacted the stakeholders in the Public Primary Schools, this study examined the influence of Kenyan education policy and commissions of inquiry into the education system on the attitude /perception on the teaching and learning of Music as a subject in public primary schools in Kenya. This study identified its statement of the problem as being the various changes in the music curriculum whose impact has not been fully analyzed in literature thus creating a gap as to the relevance of these changes to the overall learning experience in public primary schools. This study sought to achieve the following objectives: to establish how the various music curriculum reviews have influenced classroom behavior and overall learning of music in PPS in Kiambu County; To determine how the music curriculum review and changes have affected the morale, performance and state of music in PPS in Kiambu county and; to explore strategies for better teaching and learning of music as a subject in PPS in Kiambu County. The study is significant as it contributes to knowledge by filling the present gap in literature on how music curriculum changes have affected the teaching and learning of music. Policy makers and scholars can therefore have a vital resource to rely on. The study employed the Functionalist Approach to Attitude Formation and change which suggests that attitudes impel people to react to objects, situations, or propositions in ways that can be called favorable or unfavorable. The study correlated the influence of Curriculum Review Policies (independent variable) as it affects the state of music in PPS, which is the dependent variable. A descriptive Research Design was chosen because it enabled the researcher to present the various opinions and attitudes from the subjects in the most effective way. For purposes of gathering objective data, the study employed participant observation of pupils, questionnaires and interview schedules as primary data collection tools with the findings being complemented by secondary data collected from journals, books, policy documents, and online sources. The research employed purposive sampling technique to select respondents based on the characteristics of a population and their level of engagement with music education curriculum. The study chose as its area of study Kiambu County (Kenya) because it has Public primary schools that have been in existence long enough to have been affected by the Curriculum Review Policies changes. This study shed light on the influence of policy on classroom behavior and the overall learning of music. The study therefore, provides a timely insight into this problem with a view to re-defining learning and teaching of music in the Kenyan public primary schools by proposing measures that are responsive and inclusive of the end users of any music policy. The study revealed that a majority of the respondents were in agreement as to the negative impact of the various music curriculum changes on the overall learning of music and on classroom behaviour. There has also been a marked decline in the place of music in the PPS education curriculum, a situation that has had a negative impact on the attitudes of teachers and pupils towards music.Item Participation in Choral Music Ensembles and Its Impact on Musicianship among Music Education Students in Selected Public Universities in Kenya(Kenyatta University, 2020-05) Murianki, Eric KoomeMusic, just like other arts requires time for practice. Despite clearly outlined objectives about practical music in the curriculum by the Ministry of Education, several music education trainees do not consistently exhibit the ‘musical’ part of their training. They give their practical music abilities, especially aural musicianship, little or no attention even after spending quality time with their instructors/teachers. This translates to relatively poor performance at assessment. Guided by Lev Vygotsky’s Social Constructivism theory, this study focused on establishing the extent to which music education students participate in choral music activities as well as examining the effects on participation in choral music. It also focused on assessing the effectiveness of using choral music instruction methods in acquisition of musicianship skills and determining the impact of participation in choral music on musicianship among the music education students. A quasi-experimental research design was employed where pre and post-tests were used. Through the use of purposive sampling techniques, the public universities that offer Bachelor’s degree in music education were considered. An interaction with the respondents who were the music education students at the selected public universities through the use of questionnaires, interviews, observations and focus group discussions, guided the data collection. An analysis through the use of descriptive and inferential statistics was guided by the research questions and objectives of this study. The findings were considered in general music practices that helped in finding out the impact of participation in choral music on musicianship among music education students in public universities in Kenya as they prepared to begin their careers as music teachers. Key Words: participation, choral music, musicianship.Item Art Music Contributions Inspired By Kenyan Folksong Repertoire: A Case of Innovation Drawn From Samia Children Songs(Kenyatta University, 2019-06) Buyiekha, Esther PetronilaToday, 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.Item 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 WanguiThis 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.Item The Development of Kenyan Popular Guitar Music: A Study of Kiswahili Songs in Nairobi(1998-01) Chrispo, Okumu, CalebThe 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.Item African art songs in Nairobi: investigating musical idiomatic expressions in performance practice(Kenyatta University, 2017-10) Makobi, Sylvester MateteThe 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.Item 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 MuriithiThis 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.Item Investigating the role of music education as a determinant of career options among music graduates from Kenyatta University, Kenya(2016) Chimba, Grace Waithira; Njoora, Timothy K.; Wetaba, Aggrey N.The study investigated the place of music education in career development. The study also investigated music related career opportunities that university music graduates participate in on either transitional or professional basis. The study also sought to fmd out the connection between music education at University level and the current music market. The research was based in Nairobi County, where Kenyatta University was used as a platform for research. Nairobi was also used as a platform as it provides career avenues for key practitioners who are not based in the academy. The research focused on the determinants of career options among music graduates from Kenyatta University. The research population consisted of music graduates, music educators and key practitioners in the Kenyan music industry. In terms of methodological approach, the study applied descriptive and analytical designs with the purpose of investigating the determinants of career options among music graduates in Kenya. These approaches highlighted views from university music graduates, music educators and key practitioners in the industry on their opinions and attitudes towards music education and music career opportunities. Mixed research approaches (qualitative and quantitative) were applied with the main purpose of finding out the engagement of graduates in different careers in the competitive market. The above approaches were used to fmd out the determinants of career options among the graduates. Research instruments selected for data collection comprised of a questionnaire for music graduates and music educators and an interview schedule for key practitioners in the market. The data collected was analyzed with a view to answering the research formulated questions for the study. Emerging issues were highlighted, analyzed and documented as part of summary and conclusion.Item The influence of popular music styles on music training in Pentecostal churches of Kenya; the case of House of Grace Church Ministries in Nairobi(Kenyatta University, 2015-11) Murango, Amos KivutiIn the last twenty years or so, there has been controversy about what would be considered as appropriate and effective approaches for teaching worship music in a multicultural Christian church setting. There has also been concern about the influence of popular music styles on music training in Pentecostal Churches (PCs) and in particular House of Grace Churches (HOGCs) within Nairobi and its environs. This is inclusive of the ways in which popular music styles have influenced the approaches used in teaching worship music in HOGCs. This study examined the nature of messages conveyed through worship music performed in HOGCs in order to understand how sacred texts could be merged with a wide range of musical styles and used in the Church context. The study was informed by social learning and communication theories. The key argument in social learning theory is that an observer‟s behaviour changes after viewing a behavioural model while in communication theory, communication takes place when the sent messages generate meaning. The theories were helpful in understanding how teaching approaches are influenced by social behaviour patterns typical to popular music styles. The nature of this study necessitated a descriptive survey methodology and therefore, the study used questionnaires, interviews and observations to gather primary data. Secondary data was mainly retrieved from documents and other related sources of information. The descriptive survey methodology informed the collection of people„s observations and experiences about teaching approaches for worship music within HOGCs. Stratified random sampling was used to identify churches that were to be studied. The sampling technique applied to members of the churches identified through stratified random sampling was purposive. The data collected was ultimately analysed using descriptive tools and Statistical Package for Social Sciences (SPSS). Some of the major findings of the study were that: There were various approaches used in teaching worship music; Popular music styles influenced music training in HOGCs.Item Samia Afro-Classics: A creative composition 1.Omwana Uno 2. Mama(Kenyatta University, 1999-04) Musungu, Gabriel JWhile 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 doItem 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.Item 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.Item 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.Item An investigation of strategies employed to enhance music performance in selected christian churches in Nairobi County, Kenya(Kenyatta University, 2015) Ogari, E. K.This study is designed to investigate the strategies employed to raise the standards of music performance in selected Christian churches in Nairobi County. Lack of proper strategies is perceived to affect the music performance in churches therefore, resulting to low standards. The study sought to determine the purpose attributed to music performance by worshipers in selected churches in Nairobi County. It sought to establish the availability of appropriate resources that support music performance in the churches, evaluate practical voice and instrumental rendition as presented by each of the churches and investigate strategies that have been put in place by the churches to improve music performances. The study was premised on Bertalanffy's General Systems theory (1968) which focuses on the relations between the parts, more especially on the arrangement of, and relations between parts and how they work together as a whole, how they are organized and interact with each other and this interaction is what determines the properties of that system. The implication of the theoretical framework postulates that the Church as a whole system, depends on its departmental sub-systems like music and worship to make it function well, based on the principle of inter-relation among sub-systems. The study was descriptive in nature and adopted both qualitative and quantitative approaches. Research sample was selected through purposive sampling method of 20 out of the 200 Christian churches and was conducted in Nairobi County. Stratified random sampling was used to select the target population of Church choir members, pastors, music directors, members of the congregation, youth and first church elders who complement the surveys. Data were collected by use of these three instruments: questionnaires, interviews and observation schedules. Data were analyzed using descriptive statistics through percentages and frequencies. Analysis and interpretations of data helped the study to answer questions regarding the purpose attributed to music performances, strategies and resources used to enhance music performance. The results were presented in tables of frequency distributions, percentages, pie charts and bar graphs. The major findings of the study included the members of the different churches using different instruments to promote musical performance in the churches, employment of different strategies such as use of technology to promote music in the churches and having various resources as pianos, keyboards and others such as guitar to aid in performance of music. The study recommended that churches should invest more resources in promotion of music, look for funding from major stakeholders to help promote music in the church and lastly the church should use different strategies in music to woo more people to the church. The study suggested that further research be done in other counties other than Nairobi to establish other strategies that promote music.Item Music instructional methods and their impact on curriculum implementation: a case of selected secondary schools in Nairobi County (Kenya)(2014) Mochere, Joyce M.The study was designed as an assessment of the impact of music instructional methods on music curriculum implementation in the classroom in Kenyan secondary schools in Nairobi County. Music instructional methods are perceived to affect the performance of music content areas at Kenya Certificate of Secondary Education (KCSE) level as documented by several Kenya National Examination Council (KNEC) national reports essentially documenting below average music performance (KNEC, 2007-2012). Despite Ministry of Education Science and Technology's (MOEST) efforts to improve on instructional material including examination performances through Kenya Institute of Education (KIE) which is now Kenya Institute of Curriculum Development (KICD) and (KNEC) to provide comprehensive documents on instructional direction, music candidates continue to perform below average in KCSE. The purpose of the study was to assess the impact of instructional methods on music curriculum implementation by focusing on the teachers' and students' practices and experiences in the classroom. It was envisioned that this would unveil the drawbacks to quality music education and offer guidance on high achievement in the dissemination and evaluation of the music curriculum. In line with this, the study proposed to address the following: (a) investigate pedagogical issues that music teachers face in the implementation of the music curriculum content in the classroom, (b) determine strategies undertaken by music teachers to implement music in the classroom, (c) investigate contributing factors towards music students' performance in examinations, (d) to propose, with reference to available literature on instructional methods, guided teaching activities that would enhance classroom teaching in the future. Target population of the study was Form three music teachers and students in Nairobi County (Kenya). A descriptive survey was conducted to both groups (students and teachers) to collect views, facts, and suggestions on pedagogical issues affecting the teaching and learning of music. Purposive sampling was used to select 23 schools that offer music and 23 music teachers that teach music in Nairobi County. Music students were selected using simple random sampling. A total number of 180 out of 360 Form three music students and 23 teachers participated in the study. Data was collected using three research instruments: questionnaires, classroom observation schedule and focus group discussions. For validity in data analysis, triangulation was used in data collection and presentation. Data was coded considering the interrelatedness of responses. Emerging patterns were then recorded, classified and interpreted as per the objectives of the study. Data was then analyzed using descriptive statistics and presented in tabular form containing the number of responses per item (frequency) and the percentage of each response via graphs and pie charts. The statistical package for the social sciences (SPSS) was used to compute the empirical data for data processing and analysis. Pedagogical issues faced by Music teachers in the implementation of the music curriculum included: Theoretical instructional methods, inadequate pre-service training in specific content areas, negative attitude towards music, students' ineptitude in aurals, 'limited support by administration and parents, limited resources, wide syllabus, limited time in teaching, and work overload. Recommendations included: KICD to organize in-service courses to sensitize school heads on the significance of Music subject, KICD to organize in-service courses for the teachers, policy makers and curriculum developers to restructure the music curriculum to meet the learners' needs, school heads to relieve music teachers of a second subject to create time for concentrating on practical aspects of music, and equipping music departments fully to facilitate effective learning. The conclusion was that the dismal performance in content areas (melody writing, harmony, western music analysis, African music, sight reading and aurals) at KCSE is consistently below average due to poor music instructional methods, physical and socio-economic factors that impact on the implementation of music curriculum in Nairobi County.
- «
- 1 (current)
- 2
- 3
- »