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dc.contributor.advisorTimothy K. Njooraen_US
dc.contributor.authorEtyang’, Franklin
dc.date.accessioned2022-09-06T10:07:21Z
dc.date.available2022-09-06T10:07:21Z
dc.date.issued2022
dc.identifier.urihttp://ir-library.ku.ac.ke/handle/123456789/24122
dc.descriptionA Research Thesis Submitted in Fulfillment of the Requirements for the Award of the Degree of Master of Musical Arts (Composition) in the School of Creative Arts, Film and Media Studies of Kenyatta University, June 2021en_US
dc.description.abstractA 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.en_US
dc.description.sponsorshipKenyatta Universityen_US
dc.language.isoenen_US
dc.publisherKenyatta Universityen_US
dc.subjectCompositional Strategiesen_US
dc.subjectDominatingen_US
dc.subjectZilizopendwaen_US
dc.subjectChoral Arrangementsen_US
dc.subjectStylistic Analysisen_US
dc.subjectSelected Worksen_US
dc.subjectKenyan Composersen_US
dc.subjectCreative Outputen_US
dc.titleCompositional Strategies Dominating Zilizopendwa Choral Arrangements: Stylistic Analysis of Selected Works by Kenyan Composers towards Creative Outputen_US
dc.typeThesisen_US


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