Verbal-Text as a Process of Compositional and Improvisational Elaboration in Litungu Music Essay Example

Verbal-Text as a Process of Compositional and Improvisational Elaboration in Litungu Music Essay VERBAL-TEXT AS A PROCESS OF COMPOSITIONAL AND IMPROVISATIONAL ELABORATION IN BUKUSU LITUNGU MUSIC by ABIGAEL NANCY MASASABI Submitted as per the prerequisites for the level of DOCTOR OF MUSICOLOGY at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: DR MARIE R. JORRITSMA CO-SUPERVISOR: DR FLORENCE NGALE MIYA MAY 2011 I DECLARATION Student number: 3658-166-6 I announce that VERBAL-TEXT AS A PROCESS OF COMPOSITIONAL AND IMPROVISATIONAL ELABORATION IN BUKUSU LITUNGU MUSIC is my own work and that all sources that I have utilized or cited have been demonstrated and recognized by methods for complete references. _______________________ SIGNATURE (Miss A N Masasabi) ______________ DATE ii DEDICATION To the late Japheth Muia Mutangili and my little girl Grace Buyanzi. iii Acknowledgments This work would not have been practiced without the good and expert help of various people. I am especially appreciative to my administrators for their understanding, backing and direction. I express gratitude towa rd Dr Marie Jorritsma for her perceptiveness in issues of hypothetical substance, language and association. Her cautious perusing and reactions prompted generous improvement in the nature of this proposition. I am likewise obliged to my second chief Dr Florence Ngale Miya whose remarks and proposals were a wellspring of motivation. Dr Miya‘s support and her trust in my capacity propped me up all through my work. I say thanks to Dr Kidula for setting aside some effort to investigate my proposal, guiding me to books applicable to my examination and for sending me various articles that improved my proposition. I express gratitude toward Dr and Prof Tamusuza for savvy reactions to the hypothesis, strategy and wordings utilized in my proposition. I additionally express gratitude toward Dr Kilonzo for her consolation and for editing my theory. We will compose a custom article test on Verbal-Text as a Process of Compositional and Improvisational Elaboration in Litungu Music explicitly for you for just $16.38 $13.9/page Request now We will compose a custom exposition test on Verbal-Text as a Process of Compositional and Improvisational Elaboration in Litungu Music explicitly for you FOR ONLY $16.38 $13.9/page Recruit Writer We will compose a custom exposition test on Verbal-Text as a Process of Compositional and Improvisational Elaboration in Litungu Music explicitly for you FOR ONLY $16.38 $13.9/page Recruit Writer Moreover I might want to acknowledge Dr Omondi Okech for altering my theory. I might likewise want to recognize the help of Fred Wekesa Kusienya and Isaac Shitubi who made my hands on work a lot simpler. They helped me to recognize interviewees and accompanied me during my hands on work. Shitubi was instrumental during the meeting procedure and Kusienya helped me by confirming the interpretations of tunes from Lubukusu to English. I value the participation I got from my interviewees who included individuals from the Jackson Kisika Band, the Namatete Band, the Sinani Group Band, the Lugulu Bumusika Band and the Kwane Band. An abundance of thanks go to my folks Cleophas Masasabi and Grace Masasabi, my siblings Richard and Wellington, and sisters Catherine and Dorcas for their help and motivation. Extraordinary gratitude to my mom for dealing with my child Grace as I was caught up with gathering information. At long last, I value the omnipotent God for invigorating me and the sound psyche to attempt this examination. iv ABSTRACT The Bukusu people group is overwhelmingly found in Bungoma area of Western Kenya. The Litungu is a word alluding to a lyre among the Bukusu people group. Music joined by this instrument is what is alluded to as Litungu music. This music utilizes sung text and â€Å"verbal-text†/silao-sikeleko (discourse and discourse song) and silao-sikeleko is the point of convergence of this examination. Silao-sikeleko is acted in rotation with sung text in Litungu music. This investigation tries to recognize the social and compositional job of silao-sikeleko in the music. To accomplish the targets of this investigation I utilized a subjective way to deal with gather and examine information. Information assortment incorporated the utilization of meetings and perception. The interviewees included entertainers of Litungu music, whose music was sound recorded and video recorded for examination. Also, I mentioned objective facts of the presentation locales and execution conduct, taking notes and making sound and video recording. Music for investigation was then chosen on the premise that it had the silao-sikeleko part. The Bukusu social perspective on silao-sikeleko is talked about corresponding to their traditions and lifestyle. The execution of silao-sikeleko depends on a socially considered system that permits the contribution of different entertainers in the presentation organization process. Here the settings inside which silao-sikeleko is performed are recognized. Investigation of the connection between sung text and silao-sikeleko set up that though the two are specifically brought together, silaosikeleko validates the sung messages by encouraging a comprehension of messages contained in the melodies. The examination of language utilize learned that silao-sikeleko utilizes language gadgets, for example, maxims, sayings, imagery, conundrums and analogies. I set up that silao-sikeleko as an exhibition compositional component has its own presentational structure that impacts the general structure of the Litungu music. Litungu music has a semi rondoic structure whose yield isn't static yet fluctuates as per setting and the desires of the soloist. The soloist deciphers how successfully a given message has been conveyed during execution deciding how much silao-sikeleko ought to be performed. Silao-sikeleko is by and large formed and performed by different individuals from a performing gathering. Key terms: Kenyan music, Bukusu music, Bukusu culture, Litungu music, silao-sikeleko, execution sythesis, music arrangement, melody text, music structure, ad lib. v List of chapters DECLARATION . ii DEDICATION . iii Acknowledgments .. iv ABSTRACT ILLUSTRATIONS ix LIST OF FIGURES . ix LIST OF TABLES . x LIST OF PLATES . Meaning OF TERMS xi CHAPTER ONE .. 1 INTRODUCTION .. 1. 1 BACKGROUND TO THE STUDY .. 1. 1. 1 Who are the Bukusu? .. 2 1. 1. 1. 1 Bukusu Origin and Settlement 3 1. 1. 1. 2 The Bukusu Family and Social Life 6 1. 1. 2 Bukusu Litungu Music .. 10 1. 1. 2. 1. Litungu Music in the Community . 0 1. 1. 2. 2. Sex Issues in Litungu Music 11 1. 1. 2. 3. Development of the Litungu . 12 1. 1. 2. 4. Litungu Performance Technique and Ensemble 14 1. 2 STATEMENT OF THE PROBLEM . 19 1. 3 RESEARCH OBJECTIVES .. 0 1. 4 RESEARCH QUESTIONS 20 1. 5 RATIONALE AND SIGNIFICANCE . 21 1. 6 SCOPE AND LIMITATION . 22 1. 7 THEORETICAL AND CONCEPTUAL FRAMEWORK . 23 CHAPTER TWO .. 8 LITERATURE REVIEW . 28 2. 1 INTRODUCTION .. 28 2. 2 COMPOSITIONAL ELEMENTS IN AFRICAN MUSICS . 28 2. 3 SONG TEXTS AND SILAO-SIKELEKO 38 2. 4 CREATIVE PROCESS IN AFRICAN MUSIC .. 44 2. End . 48 CHAPTER THREE . 49 RESEARCH DESIGN AND METHODOLOGY 49 3. 1 INTRODUCTION .. 49 3. 2 RESEARCH DESIGN .. 49 3. Populace AND SAMPLING 50 3. 3. 1 Target populace . 50 3. 3. 2 Purposive examining . 50 3. 3. 3 Snowball inspecting .. 51 3. 4 DATA COLLECTION . 2 vi 3. 4. 1 Fieldwork 53 3. 4. 2 Interview strategy . 54 3. 4. 3 Observation . 56 3. 4. 4 Note taking .. 56 3. 4. 5 Audio and video ecording.. 57 3. 4. 6 Photography .. 57 3. 5 DATA PROCESSING, ANALYSIS AND INTERPRETATION.. 58 3. 8 CONCLUSION . 58 CHAPTER FOUR . 0 FORMAL STRUCTURE OF LITUNGU MUSIC 60 4. 1 INTRODUCTION .. 60 4. 2 SILAO-SIKELEKO STRUCTURE . 61 4. 2. 1 Narration . 62 4. 2. 2 Dialog by Two People. 3 4. 2. 3 Dialog by More Than Two People 64 4. 3 OCCURRENCE OF SILAO-SIKELEKO. 67 4. 4 THE CONSTRUCTION OF INSTRUMENTAL PHRASES .. 71 4. 5 OVERALL FORM OF LITUNGU MUSIC .. 79 4. 7 CONCLUSION . 2 CHAPTER FIVE .. 94 THE CULTURAL ROLE OF SILAO-SIKELEKO IN BUKUSU LITUNGU MUSIC . 94 5. 1 INTRODUCTION .. 94 5. 2 THE ORIGIN OF THE SILAO-SIKELEKO ELEMENT IN LITUNGU MUSIC .. 95 5. 3 CONTEXT OF SILAO-SIKELEKO IN LITUNGU MUSIC .. 97 5. Social FUNCTION OF SILAO-SIKELEKO IN LITUNGU MUSIC 105 5. 4. 1 Introduction and Acknowledge Personalities 105 5. 4. 2 Education . 108 5. 4. 3 Self Expression . 113 5. 4. 4 Social Commentary. 113 5. End .. 121 CHAPTER SIX 123 SUNG TEXT AND SILAO-SIKELEKO . 123 6. 1 INTRODUCTION 123 6. 2 THEMATIC ROLE OF SILAO-SIKELEKO .. 24 6. 3 QUANTITY OF SILAO-SIKELEKO IN LITUNGU MUSIC . 136 6. 4 LANGUAGE USE 141 6. 4. 1. Writing versus Poetry. 143 6. 4. 3. Symbolism 145 6. 4. 6. Axioms and Sayings 48 6. 4. 7. Imagery . 152 6. 4. 9. Question .. . 155 6. 4. 10. Informal Expression . 156 6. 4. 11. Moral story 156 6. 5. WORDS DEPICTING RELATIONSHIPS 158 6. 6 CONCLUSION .. 160 CHAPTER SEVEN .. 163 vii PERFORMANCE COMPOSITION IN BUKUSU LITUNGU MUSIC 163 7. 1 INTRODUCTION 63 7. 2 PREREQUISITES FOR THE IMPROVISATIONAL PROCESS . 165 7. 2. 1 Prolonged Exposure to Music 167 7. 2. 2 Knowledge and Mastery of Lubukusu .. 171 7. 2. 3. Information on Cultural Environment and Events .. 173 7. 2. 4. Nearness and Maturity of Audience .. 174 7. 2. 5. Intra-Group and Inter-Group Interaction 175 7. 2. 6. Information on Instrumental Genre . 176 7. 3 THE CONSTANT AND VARIED FEATURES OF LITUNGU MUSIC .. 177 7. 4 THE CREATIVE PROCESSES 188 7. 5 CONCLUSION .. 193 CHAPTER EIGHT .. 195 SUMMARY, CONCLUSIONS AND RECOMMENDATIONS.. 195 8. 1 SUMMARY . 195 8. 2 CONCLUSIONS 195 8. 3 RECOMMENDATIONS .. 99 BIBLIOGRAPHY .. 201 APPENDIX I 216 SONGS IN LUBUKUSU AND THEIR TRANSLATION INTO ENGLISH 216 APPENDIX II .. 252 CONSENT FORM FOR RESEARCH ASSISTANTS .. 52 APPENDIX III . 254 CONSENT FORM FOR INTERVIEWEES . 254 APPENDIX 1V 255 INTERVIEW QUESTIONS . 55 APPENDIX V .. 256 FOCUS GROUP DISCUSSION INTERVIEW GUIDE 256 APPENDIX VI. 257 INDEX TO AUDIO CD . 257 viii ILLUSTRATIONS LIST OF FIGURES 1. 1 Map of Kenya demonstrating the area of Bungoma locale 1. An Exam