PHD-Department of Music and Dance

Permanent URI for this collection

https://repository.ku.ac.ke/handle/123456789/478

Browse

Now showing 1 - 9 of 9

Techniques of Assessing Students’ Vocal Music Performance by Selected Universities in Kenya: Investigating Conformity with Procedural Evaluation Frameworks
(Kenyatta University, 2020-06) Ogari, Everline Kwamboka
Vocal music performance occupies a dominant position in the musical landscape of Kenya yet scholars have had numerous debates as to how music should be assessed and evaluated. Instructional refinement and related matters of liability have provided a domain for the widespread need for diverse assessment and evaluation grading systems. The title of the study was on “Techniques of assessing students’ vocal music performance by selected universities in Kenya: Investigating conformity with procedural evaluation frameworks”. Based on the absence of defined frameworks and standardized criterion for assessment and evaluation that offer a common language across universities in Kenya, the main purpose of this study was to establish tools used for assessment and evaluation of vocal music by selected Kenyan universities; determine the availability of the techniques used in assessing cognitive, affective and psychomotor domains in music; Develop a vocal music assessment scoring guide that synchronizes the currently utilized grading schemes in Kenyan universities and analyze vocal music grading schemes and music scores from selected Kenyan universities based on the developed scoring guide. Guided by the objectives the study examined the intricacies of vocal music performance assessment laying out the significance of these instructional tools such as scoring guides in the evaluation process. It was noted that in all tiers of vocal music performance, there is a need for instructors to provide a thorough documentation of student performance and implementation of certain assessment and evaluation tools that layout students progresses. Purposive sampling was used to select 12 universities that offer music where 3 private and 3 public universities were randomly selected. Students of music were selected using stratified random sampling to acquire gender representation before simple random sampling technique was used to acquire the actual sample size n=30%. This study aimed at the enlightenment and improvement with regard to assessment and evaluation of vocal music in Kenyan universities. The study was guided by Constructive Alignment model as the theoretical underpinning of the research. Data were collected using opinionnaires, questionnaires, focus group discussion, and observation schedule. For purpose of classification, summarization and tabulations of data, the used descriptive analysis technique through pie charts, tables, percentages, frequencies and narration. The study findings established that activities of vocal warm ups such as vocal slides were the most used instructional activity in the universities for the voice instrument while non- verbal communication principals were least used; It was also observed that evaluation tools such as goal setting forms, templates for practice guidelines and lesson journals were inadequate ; the students’ vocal training varied in the sampled universities; as well as the capacity of music instructors to assess rhythmic accuracy, tempo, sight singing, tone, intonation, melodic accuracy, vocal technique, musicianship and synthesis analysis, historical and cultural context. The study concludes that tools for assessment and evaluation of vocal music are of great significance to the growth of students’ vocals; findings of the study showed that although there are music departments in all universities of study, some of them conform to a few of the strategies, techniques and tools needed for collecting information that determine desired outcomes. Some of the recommendations made after the study were that administration of the assessment scoring guide across different universities should exercise a common language and goals; institutions especially in Kenya to establish a more appropriate concentration on vocal music performance so as to enhance a more elaborate research on assessment and evaluation criteria on the instrument; trainers to consider the learners needs in and outside class and the vocal instrument to be assessed on its own since it involves a lot more compared to other music instruments.
Popular Music in Kenya:A survey and Evaluation of Performing Strategies among Selected Groups in Nairobi
(2013-03-20) Oyugi, Isaiah
This study focused' on Popular Music in Kenya. In their daily endeavors within the entertainment industry, Kenyan Popular musicians employ performance strategies meant to draw their audience closer and to maximize on their entertainment business opportunities. This study sort to evaluate some of the strategies adopted in order to assess their viability in the performance business. Artists in the entertainment field inevitably interact with various players in the industry, hence the I:' need to establish t~~jnfluence of these players in the numerous decisions that the ,:>.' artists make on a daily basis for them to remain relevant in the industry and to survive. Specifically, the study sought to establish the influence of the society on the music that is produced by the musicians, identify some of the demands that the audiences put to the musicians, establish how popular musicians are adapting to the ever changing performance environment and determine more result oriented strategies that musicians should focus on. The study was conducted in Nairobi. This is because Nairobi is viewed to be a more cosmopolitan City with a conglomeration of artists from all walks of life and nearly all parts of the country and beyond, who are both at their initial stages and those who have been in performance practice for a -.".:~.,~"'" longer period of time. The entertainment industry is also viewed to be thriving in Nairobi hence giving a replica,;~~~~sentation of other urban cities in Kenya. The population sampled included Di~k.jockeys (DJs) and Video-jockeys (VJs) from broadcasting stations and other entertainment establishments, event organizers and practicing popular artists. Purposive and random sampling techniques were used to arrive at the desired population. Qualitative data was analyzed descriptively, with emerging issues being discussed and related to the prevailing situations for better _ understanding. This study outlines the most current strategies as used in other parts of the world by popular artists and recommends the most adaptable ones to local musicians to better their business in the entertainment industry for growth of the industry and for progress in their preoccupation.
Rap music in the hip-hop culture among the youth in Nairobi
(2013-01-22) Amateshe, M.; Charles Nyakiti Oraawo; Washington Omondi
Since early 1 ~:NUs, the music industry in Kenya witnessed an exponential infiltration of Hip-Hop culture and its element of Rap music, which claimed significant space on the Kenyan popular music landscape. The youth demographic assimilated this genre and the culture that came with it and established on it a fanatical following and adherence. Being a cultural force, this study sought to establish its exact point and process of entry into the music practice in Nairobi. Further, the study sought to study the new cultural identities that emerged as result of the new cultural force. In the realization from review of related literature that negligible effort had gone into transcription of Rap music, the study moved to fill this gap by transcribing and analyzing stylistic developments in a representative sample of the Rap music that was eventually practised in Nairobi after the assimilation process. An Oral Interview Guide (OIG) was used on a purposive sample of 41 Rap artistes, 9 Rap Music Producers and 5 DJs. The study also accessed a random sample of 100 popular music listeners within Nairobi area. Text transcriptions of 34 Rap songs was carried out, out of which, 9 Rap songs were selected for Music transcription. Participant Observation (PO) was used in cases where data were available during live concerts. Non-Participant Observation was also used where situational dynamics called for it. Analysis of purposively sampled existing discography and videography added to the information sources accessed by this study. Data collected through oral interviews was analyzed by the use of descriptive statistics. The descriptive analysis was appropriate for this study because it involved the description, analysis and interpretation of origins of Rap music in Nairobi, identities projected through Rap music and Hip-Hop culture and style of Rap music as practiced in Nairobi at the time of study. Results indicated that the origins of Rap music in Nairobi were a process that could not be attributed to an individual. Rather, it was a process that was engendered through a collective participation by those who were exposed to a limited international media network existing in the early 1990s. The results also showed that various identities had been created by the youth to reflected tenets of the Hip Hop cultural force. However, from the music transcriptions carried out by this study, apart from language, musical style had changed very slightly. Rap music practiced in Nairobi was still largely patterned along the stylistic structures established by afro American originators and performers of the genre. The study therefore recommended that although artistes were free to explore and experiment with foreign Rap structures, there was need to strive to create a Rap music identity that could reflect Kenya's cultural diversity. In addition, the study recommended that since Hip-Hop culture had become an influential sub-culture, especially among the youth, there was need to explore strategies of harnessing this influence in communicating pertinent issues such as drug abuse, HIV / AIDS and economic empowerment among others. National communication and awareness policies too, . needed to find ways of entrenching Rap music in communication policies
Preservation and promotion of indigenous music in Uganda: A Challenge for Tertiary education institutions
(2012-11-05) Ereu, Ekadu Peter
Preservation and promotion of indigenous music through generations has depended on active practice guided by elders as the makers and practitioners of these genres of music. However, the presence of European Christian Missionaries, colonial administrators and Asian communities in the pre-independence period impacted the culture, local music and education system of the country, and started the downgrading of the practice of indigenous music. Such a negative attitude towards the indigenous music coupled with various other forces of change have continued to endanger the sustenance and existence of these genres of music if not conserved. The continuity of indigenous music requires its active practice in the institutions and communities where people live. This study takes the stance to assess curricula and programmes of the tertiary education institutions so as to establish their capacity and readiness to lead in the conservation of this invaluable part of Uganda's heritage. Finally the study proposes a "Living Indigenous Music" learning model with a philosophy meant to guide tertiary education institutions in redesigning curricula and programmes for the enhancement of active practice, growth, safe keeping and continuity of indigenous music. A number of recommendations meant to involve various government ministries to join tertiary education institutions in addressing the challenge have been recommended. Some of these recommendations include, among others, research on the brunt of over 20 decades of insecurity on the practice and preservation of the indigenous genres of music of the Acholi of Northern Uganda. There is also need for policy makers to organize intercultural gala, and redesign policies for the benefit of preservation and promotion of indigenous genres of music.
Indigenous Music and the communication of selected innovative social concerns: synchronic analysis of Dodo and Nyatiti songs in Siaya district, Kenya
(2012-01-05) Digolo, B.A.; Akuno, Emily Achieng; Kidula, J. N.
This study investigated the communicative viability of Dodo and Nyatiti music among the rural population of Siaya District. Specifically, the study sought to: 1. Analyze the structural, melodic and rhythmic attributes of selected Dodo and Nyatiti songs in order to determine their indigenous epithet; 2. Determine whether the texts of the selected Dodo and Nyatiti songs embodied any aspects of messages related to modern health, literacy and family planning; 3. Ascertain whether respondents selected among the study population perceived Dodo and Nyatiti songs as viable modes of communication; 4. Establish factors that influenced the growing recognition of the indigenous songs as media of communication in the district; and 5. Ascertain whether the messages transmitted through the selected indigenous songs would resulted in acquisition of knowledge on issues concerning modern health, literacy and family planning. The study targeted male and female adults in the district, the traditional musicians, and personnel from Departments of Information and Culture. The techniques used in selecting a working sample from the study population included simple random, purposive and snowball sampling techniques. Data was collected from the respondents using various types of instruments including structured interview schedules, opinionnaire schedules, observation schedules, and also through participant observation and unstructured interview. The data was analyzed using an inferential statistical procedure namely, T-test for related samples, and through description and explanation of qualitative features of the data. The findings of the study revealed that a substantial number of people in Siaya District concurred with the claims that indigenous music forms like Dodo and Nyatiti are viable modes of communication. Structural, melodic and rhythmic attributes of Dodo and Nyatiti were found to have significant bearing on the communicative viability of the genres. The communicative capacity of Dodo and Nyatiti songs was authenticated based on the fact that the texts of the music genres were found to embody messages on the specified social concerns including health, literacy and family planning. Through the pre-test and post-test measures, it was verified that the messages propagated through the song texts resulted into acquisition among some study respondents. This further portrayed the communicative viability of Dodo and Nyatiti. In light of the above study findings, the recommendations made for possible implementation by relevant authorities included the need for; strengthening the formal integration of indigenous media including music within the set up of communication media in Kenya; formulation of a mass media strategy that would involve the development of an Indigenous Media Division to deal with the organization and evaluation of indigenous media activities throughout the country; practical applications of research findings of studies such as the present one, so as to be used as references in policy/decision making processes; promotion and support for the indigenous music performance, particularly at grass root levels where the genres serve as useful sources of information. Finally, suggestions were made for possible areas for further investigations. These included: comparative study on the level of mass media preferences among the rural population in Kenya, with regards to the print, electronics, music and other types of indigenous media; a study to determine the communicative capacity of various types of indigenous media including music, drama, poetry and stories in order to ascertain the most favourable local media for rural communities in Africa; study on compatibility of various indigenous media contents in relation to the prevailing social-cultural situations; assessment of the audience impact of the indigenous media such as music with regards to their capacity to enhance change in attitude and behaviour; and a study to determine relationship between preference of a specific type of indigenous media among a particular African community and the communicative efficacy of the genres
The use of song and movement to create a multicultural curriculum for early childhood music education in Kenya
(2011-11-23) Andang'o, Elizabeth J. A.
Early childhood musical development has gained research prominence in recent years. Researchers and early years' educators, in response to findings that musicality begins before birth, are continually seeking ways to tap the undeveloped musical potential inherent in young children. The influence of nature and nurture in child and musical development and the extent to which each influences growth also continue to invite more investigation. A credit to social anthropology, culture as an aspect of nurture is now regarded as a key determinant in the whole growth process. Furthermore, with increasing global integration, multiculturalism has become a living reality in its different contexts. It is especially a reality in music educational settings, where teachers are faced with myriad challenges and opportunities to explore diverse musics for the purpose of societal cohesion. This research considered both early childhood musical development and multiculturalism, with the aim of creating a curriculum addressing both developmental stages and multiculturalism in early childhood, for the purpose of developing children's musicality and finding ways in which it could be applied to their education. Research procedures included a descriptive investigation and a quasi experiment. Descriptive investigations, carried out on preschool teachers (n=130) from 21 Day Nursery schools in Nairobi, were applied to examine musical activities in preschools, as well as teachers' experiences in instructing children in music and movement activities, and the use of music in other learning activities. The quasi experiment involved examining the viability of multicultural Kenyan music as part of the existing repertoire children perform, and exploring ways in which it could be incorporated into a curriculum for early childhood education. Children from 3 preschools (n=78) underwent an intervention based on the objective of teaching multicultural musical activities, and through them, experiencing the various elements of music as well as the delineated meanings of music, both of which could be applied to other learning activities. Key findings revealed that new forms of children's music have evolved in playground activities as a result of the dynamism of culture. It was also found that despite the passage of time, older music forms still existed. Teachers were found to have an understanding of the difference between the use of music to achieve extramusical goals and the teaching of music to gain a deeper understanding of it as a discipline. However, the study found that there was a necessity to develop education in music further, both for its own sake and in order to use it more effectively in early childhood education. Finally, the study found that children had a positive response to multicultural music. It was therefore proposed that more variety of interactive multicultural music be introduced in preschools, accompanied with a variety of musical activities
A critical analysis of indigenous Kenyan music procedures: developing the embedded pathway approach model for interactive learning for secondary schools in Kenya
(2011-07-25) Mushira, N. Evelyne
This study was carried out against a backdrop of current educational process in Kenya which (the process) is heavily grounded on Western education models. These models, unfortunately, were not known for including African music in the general music curriculum, to say nothing of apportioning adequate time for music on the time-table. Such practices have not been successful in yielding musicianship that is vibrant and practical. The aim of the study, therefore, was to explore the instructional promise of' selected indigenous Kenyan music processes as possible models for curriculum design and implementation with the objective of developing a formal approach for secondary schools in Kenya. The study was prompted by the need to confirm AFT can music, an oral art, in contemporary formal music education. It was hypothesized that there would be a positive change in music expectancy scores when students are instructed through indigenous Kenyan music processes. The theoretical framework constituted of the socio-cultural and music learning theories. The study was conceived upon a music learning process illustrated as concentric circles learning pyramid model (CCLP model) A combination of documentary and experimental strategies provided the overall study design. The study was piloted and necessary adjustments made on field logistics as well as research instruments. Documentary procedures through literature review identified and reinterpreted indigenous Kenyan music processes. A total of 6 out of 29 articles on indigenous Kenyan music authored from 1954 to 2005 were reviewed, having been drawn out through a process of theoretical sampling. Call and response, through content analysis, emerged as the most prevalent process of indigen a Kenyan music (33; 52.38%). An experiment was designed to test the study hypothesis. Key variables were identified as a) music expectancy achievement (dependent), and b) call and response instruction method (independent). Variables that were manipulated for control purposes included: gender; region; and teacher/learner preparedness among others. Schools from two out of the eight provinces in Kenya constituted the study sample, the population having been defined as students attending secondary schools that offer music as an examinable subject under the 8-4-4 system. Results from both control (n=81) and experimental (n=87) groups yielded t-values of 0.355 and 8.927 respectively. These results upheld the key study hypothesis which had predicted a positive relationship between music expectancy achievement and the call and response a process of instruction. The second hypothesis having focused on a gender based differentiation with regards to music expectancy performance by reason of the new instruction method was similarly upheld. On the contrary, data did not support the third hypothesis that had conjectured the same outcome but with a differentiation between rural and urban regions. Although a positive change in music expectancy scores was noted, the overall differentiation in performance between the two regions was negligible. Interestingly, supplementary data emerging out of the study yielded notable differentiation in tone and rhythm perception with regards to gender and region. On the whole, implication is showed that indeed, indigenous Kenyan music processes have substantial pedagogic value which is either untapped or used sporadically without appropriate instructional guidance. A proposed instructional method based upon the call and response procedure was consequently developed to supplement current music instruction practices. Such an instructional method however, would need to be continually evaluated to maintain currency and appropriateness. The study recommends that universities and teacher training colleges review their music education programs so as to appropriately address indigenous Kenyan music.
Developing strategies for teaching aural musicianship in Kenyan secondary schools
(2011-07-25) Mbeche, Gesare Cleniece
Many scholars, for example Kodaly, Dalcroze and Campbell would argue for the important role of aural musicianship in Music Education. One of the purposes of Music Education is the creation of an environment in which the human potential is nurtured to bring forth and understand a variety of musical experiences. Music is a phenomenon that is experienced through the ear so the basis of all instructional programmes should be the cultivation of an acute musical ear, which is developed when emphasis in music is focused on auditory discrimination and analysis. The ability to discriminate aurally between sounds leads to aesthetic growth and sensitivity, which enables one to respond to music aesthetically, intellectually and emotionally, thereby gaining deeper meaning from musical experiences. The main aim of this study was to develop strategies for teaching aural musicianship in Kenyan secondary schools. It was noted that a majority of candidates taking the Kenya Certificate of Secondary Examination (hereafter KCSE) consistently perform poorly in aural musicianship, a situation that warrants further investigation to determine the causes. Purposive sampling was used to select schools offering music as a subject. Out of twenty schools, six were selected to form the sample. The study was conducted using quasiexperimental method of research. Selected experimental groups were exposed to newlydeveloped teaching strategies while the control group continued with the current methods used by teachers (described later in the document). In terms of data organization, the randomized pre-test post-test control group experimental design was used for generation of appropriate data. Among data collection instruments used were interview schedules, questionnaires, attitude scales and non-participant observation. Data from the questionnaires were coded using Statistical Package for Social Sciences. Descriptive and inferential statistics were used; descriptive statistics used were tables, graphs and charts while inferential statistics used included the T-test for independent means. Analysis of Covariance, effect size index and the Null Hypothesis Statistical Technique. Findings from the study revealed that systematic teaching or sequential instruction has great potential for improvement of aural musicianship performance. Established teaching strategies employed by the teachers gave little empowerment to the students to do aural work on their own. A variety of teaching resources for aural musicianship were available but teachers lacked essential skills for their use in teaching aural skills. Unfortunately, data showed that some of the teachers did not understand the importance of, or what aural training entailed. This may have led to their negative attitude towards aural training, which in turn spread to some students. To counter this, the study generated a learning sequence based on readily available song material for teaching aural musicianship to secondary school learners in Kenya but the approach is applicable in similar circumstances elsewhere. Some of the recommendations made after the study were that methods used should be informed by current research trends and approaches; that curriculum developers should design the course in a way that music knowledge acquired in other areas of the curriculum is synthesized; and above all, since music education develops in the social, cultural and economic context within a society, the rich cultural heritage of available folk music should be used consistently to teach music concepts and procedures in the classroom, commensurate with modern trends in music education. While music is no longer being offered as an examinable subject at KCSE level, it is critical for those music teachers who have the opportunity to participate and teach aural musicianship with the serious approach it deserves, to have this as a mind set and a way of conducting instructional activity.
An analysis of musical and theological meaning in the hymnody of legio maria of african mission church in Kenya.
(2011-07-25) Ol'leka, Shitandi Wilson
Review of available literature showed a paradoxical hybridity in the hymn singing of Legio Maria of African Mission Church in Kenya, abbreviated herein as LMC faithful (jolejo). were viewed as preferring a community of their own that stood opposed to certain aspets of traditional and modern world systems. Yet on the one hand, they embraced and appropriated hymn from Roman Catholicism, musical expressions that they had earlier objeted to and on the other, explored songs that exhibited Luo traditional misical idioms. It was out of this paradoxical hybridity that the study sought to analyse the musical and theological meaning in the LMC hymnody to ascertain among other issues the role the hymnody played in shaping and informing the religious and social- cultural life of jolejo. The study employed ethnographic research design in which descriptive techniques were used. Study population comprised choir singers (n=20), the clergy (n=9) and lay leaders (n=2) drawn from three districts in Luo Nyanza namely; Migori, Kisumu and Siaya.Descriptive investigations were conducted using semi-structured questionnaires which were administered with the help of research assisstants. In addition, formal interviews and field observations were conducted. The study found out that musical meaning in LMC hymnody ranged from varying musical attributes inherent in the hymns and how the attributes were appropriated by jolejo, to different liturgical and social-cultural roles the hymnody played in the lives of the faithful. The hymnody constituted musical forms and categories that accrued from structural organisation of melodies, rhythms and harmonies. It was found that message in the transcribed hymns accounted for Christological motifs appearing in the hymn-texts and, which ascribed to Jesus Christ as potrayed in the Bible. Fewer hymns accounted for Christological appellations ascribed to Baba Mesia Ondeto and mama. It was also found that LMC objected to utilization of instrumental accompaniment, dancing, and other gesticulations associated with traditional and contemporary music cultures. These musical expressions were viewed as distractive and belonging to world circus. It was ascertained that LMC blended continuity and discontinuity of familiar and unfamiliar music traditions. This blend was seen as a way of confronting the challenges posed by the conflict between on one hand, the age-old RCC and Luo traditional music expressions preferred by the old generation and on the other, the neo-traditional and contemporary African idioms identifiable with the young people. It was ascertained that LMC hymnody exhibited a nature that was both eclectic and to a lesser extent syncretic. The innovations of the study in the study in the context of syncretic interactional model of African hymnody (SIMAH) were viewed as important insights into the dilemma of validating which hymns should not be considered appropriate for the LMC worship. The innovations were seen as significant step to a fuller understanding of the kind of hymns to be employed in African Christian Church settings. Essentially, the study of LMC hymnody revealed a model of an African hymnody that could be used as a benchmark for other African Christians churches that are seeking to create a hymn singing traditional that balances and blends old and new, cultural and contemporary expressions with limited theologican and social-cultural strain. The study, however, recommended that for the purposes of comparison, a similar study be conducted for other Christian movements in Kenya.

Browse

Recent Submissions