Department of Music and Performing Arts
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Item Practices Music of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic of the Samia: Principles and PracticesMusic(2016-02-19) Akuno, E m i l y Achieng; Musungu, Gabriel J.Abstract This study discusses the music of the Samia by articulating its principles and practices. It highlights Samia views on music making, concept of music, dance, choice of performance and song texts in the community. The discussion is based on the analysis of field data in the form of recorded songs. Data was collected during field research and analysed. Pertinent song texts are presented in the original language (Olusamia) translated literally into English and their usage analysed. The discussion hinge is on the theory of formalism, in which a society is viewed as a whole system that contains other sub-systems that contribute to the overall functions of the society. These sections or sub-systems are set up by some principles of the society that inform their function in given contexts. The theory is applied to the music making practices and functions of the Samia. The study also discusses some of the trends that affect traditional music of the Samia.Item MUSIC FOR LITERACY DEVELOPMENT(2016-02-15) Akuno, E m i l y Achieng; Karoki, Duncan; Abunge, Lillian AnyangoThe Music for Literacy Development project was a 20-week intervention for the development of literacy and language skills for 6-8 year old pupils in 7 primary schools in Nyanza in the counties of Kisumu (rural) and Siaya. The project activities were advised by a baseline survey carried out in May/June 2013 in 5 counties in the country, namely Nairobi, Vihiga, Kakamega, Kisumu, and Siaya, which had established that there was music in the primary schools although taught and used informally since it is not in the school examination syllabus. It also established that there were limited resources for music and most schools gave priority to sports in their Free Primary School budget rather than in music as a co-curriculum activity. In schools where there was music, resources such as instruments would normally be improvised by especially learners and teachers.Item The Singing Teacher’s Role in Educating Children’s Abilities, Sensibilities and Sensitivities(2016-02-15) Akuno, E m i l y AchiengIn the Republic of Kenya, song is widely used to enhance the whole curriculum in lower primary classes. Song is used especially to aid recall and therefore teachers adapt tunes that children already know, inserting relevant words from the subject at hand. Despite this widespread practice, this form of singing in schools is not recognised by the same teachers as music training in the classroom, and so little, if any, effort is put into the actual music production. Teachers do not attend to the sound of the music, as the intention is to capture facts about various things, including the soil, the weather, numbers etc. and present them in a way that the young learners will quickly remember. This paper interrogates the process that 6–8-year-old children underwent as they moved from using song to learn facts (singing to learn), to developing multiple musical abilities and capacities (learning to sing), through participation in the Music for Literacy Development (MLD)1 project in selected schools in the Nyanza region of Kenya.Item FORMAL MUSIC EDUCATION IN THE PROPAGATION OF CULTURAL VALUES(2007) Akuno, EAEvents of socio-cultural significance are marked and hon oured by society in different ways. The activities that celebrate these events ar e often multidimensional. In most cases, they involve sounds and gestures that symbol ise and communicate the ethos of the practising community. As a people’s economy changes, the activities that mark significant stages in a person’s social development change in form and content. Thes e changes occasion and are articulated through variations in music forms. In music, the co ntext determines the content. This leads to change in the functional music of each community. Y et this music is an entity that expresses and reflects life. When discarded, a wealth of knowledge is l ost. In an economy where formal education occupies a large portion of an individual ’s life, the school is a strong socialising agent. With its role of imparting knowledge and ski lls, the school is best placed to facilitate familiarity with one’s cultural heritage. Since music is a living treasure, its role in the p ropagation of values and the need for its preservation cannot be overemphasised. This pap er proposes that this can be achieved through practices within formal education in Kenya.Item Indigenous Music in Modern Education: The Road to Cultural Relevance(2007) Andang'o, E. A; Otoyo, D; Akuno, E; Owino, CItem Creativity from an old score: Afro-classics in the concert hall(2008) Akuno, EAItem Perceptions and reflections of music teacher education in Kenya(2012) Akuno, EAThis article builds on enquiry aimed to discover Kenyan music teachers’ perceptions and expectations of their role; their view of the training they received; head teachers’ perceptions and expectations of the role of the music teacher; and the expectations of both music teachers and head teachers of a music teacher education programme in Kenya. The findings have steered a discussion towards suggestions for an improved framework to guide teacher education for music at all levels of education in Kenya. Through questionnaires, a sample of 16 music teachers and 11 head teachers recorded their opinion that teachers were not adequately prepared to implement the music programmes; that the role of the music teacher covered in and out of class activities; and that this expectation could only be accomplished with proper academic and professional training. Guided by principles of indigenous African education and learning conceptual orientations, the discussions led to recommendations that call for better grounding of music teachers in the processes of music and ability to facilitate music learning.Item The role of research in music education(2005) Akuno, EAItem A Conceptual Framework for Research in Music and Music Education within a Cultural Context(2001) Akuno, EAMusic education in Kenya has been, and continues to be conducted along Western theories which fall short of defining music as experienced within traditional African cultures (New, 1980; Omondi, 1980; Kwami, 1989; Akuno, 1997; Kidula, 1998). Research in music, an attempt to find reality and meaning in it, involves discovering its components, how they make a cohesive and comprehensible whole, and how the produced item functions in the economy of the culture thai produces and consumes it. Since music must be understood from the participants' point of view, a true understanding involves analysis within the context in which it is created and practised. The created music is influenced by the artist's understanding of the subject through experience and knowledge gained in that genre. Such experience, gained from casual, informal contacts or deliberate, organised instruction, is drawn upon for musical creativity as manifested in performance, response to musical stimuli as well as composition. This paper examines this process to come up with a conceptual framework for the understanding of music within a cultural context