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Journal articles on the topic 'Kenyan music'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

Ekdale, Brian. "Reppin’ the nation, reppin’ themselves: Nation branding and personal branding in Kenya’s music video industry." Journal of African Media Studies 12, no. 1 (March 1, 2020): 75–88. http://dx.doi.org/10.1386/jams_00012_1.

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This article explores the entanglement of nation branding and personal branding in the Kenyan music video industry. Although self-commodification and labouring on behalf of the nation are both indicative of neo-liberal governmentality, Kenyan music video directors build personal brands to wrestle creative control from their clients during the production process and they invoke their experiences representing Kenya abroad to elevate their professional status at home. Thus, branding in the Kenyan music video industry illustrates the complexities and contradictions of neo-liberal governmentality in global cultural production.

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2

Floyd, Malcolm. "Music Makers: cultural perspectives in textbook development in Kenya, 1985–1995." British Journal of Music Education 20, no. 3 (October 29, 2003): 291–306. http://dx.doi.org/10.1017/s026505170300545x.

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This article draws on my other writings about developments in the teaching of music in Kenya, and on the decision to promote traditional musics and to make music one of the compulsory examinable subjects at the end of primary school. It considers two textbooks published by Oxford University Press in Nairobi: Music Makers for Standards 7 and 8, by Brian Hocking and me, was issued in 1985, and Music Makers for Standards 5 and 6, this time with George Mutura as co-author, was published in 1989. The music education syllabus was revised in 1993, and both books were adapted to adjust the placing and progression of the material. This case study sets out the background of developments in Kenyan educational policy, notes the changes in curricular music, explores how the adaptation happened in practice, tracks the process, comments on its implications and considers responses to the completed project.

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3

Eisenberg, Andrew J. "HIP-HOP AND CULTURAL CITIZENSHIP ON KENYA'S ‘SWAHILI COAST’." Africa 82, no. 4 (November 2012): 556–78. http://dx.doi.org/10.1017/s0001972012000502.

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ABSTRACTThe Muslim-dominated ‘Swahili coast’ has always served as a conceptual as well as physical periphery for post-colonial Kenya. This article takes Kenyan youth music under the influence of global hip-hop as an ethnographic entry into the dynamics of identity and citizenship in this region. Kenyan youth music borrows from global hip-hop culture the idea that an artist must ‘represent the real’. The ways in which these regional artists construct their public personae thus provide rich data on ‘cultural citizenship’, in Aihwa Ong's (1996) sense of citizenship as subjectification. I focus here on youth music production in the Kenyan coastal city of Mombasa between 2004 and 2007. During this time, some local artists adopted a representational strategy that subtly reinscribed the symbolic violence to which members of the coast's Muslim-Swahili society have long been subjected. I examine the representational strategies that were adopted during this period by Mombasan artists who happened to be members of the Muslim-Swahili society (‘subjects of the Swahili coast’, as I name them), with an ethnographic eye and ear trained on what they say about the ways in which young subjects of the Swahili coast are objectified and subjectified as ‘Kenyan youth’ in the twenty-first century.

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4

Floyd, Malcolm. "Modeling Music Education: Britain and Kenya." International Journal of Music Education os-40, no. 1 (May 2003): 59–80. http://dx.doi.org/10.1177/025576140304000106.

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The problem with models is that they almost always break. At some point, new information or new theoretical perspectives arrive and the model is rejected, or at best put aside and referred to occasionally for its historical interest. This article looks at my perceptions of music education in Britain and Kenya over the past 30 years or so using a range of models, precisely because it is in their “breaking” that one learns what is most significant. I have taught in both countries, at all levels of education, and part of the reason for writing this is to unpick my own agendas. Models drawn from the work of Brocklehurst and Hart in the 1970s and Swanwick and Boyce-Tillman in the 1980s and ‘90s will be reconstructed in the Kenyan situation and allowed to declare their incongruity, incompatibility, irrelevance, complementarity, or transformation. My choice of models may well seem eccentric, but they are the models that have had the most impact upon me. In that way, they make the understanding of my own role clearer, and so the collection of models becomes egocentric. Britain is the starting point, as that was both my starting point and the historical background to formal Kenyan music education.

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5

Wanjala, Henry, and Charles Kebaya. "Popular music and identity formation among Kenyan youth." Muziki 13, no. 2 (July 2, 2016): 20–35. http://dx.doi.org/10.1080/18125980.2016.1249159.

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6

Ekdale, Brian. "Global frictions and the production of locality in Kenya’s music video industry." Media, Culture & Society 40, no. 2 (May 11, 2017): 211–27. http://dx.doi.org/10.1177/0163443717707340.

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This article explores the relationship between global imaginaries, frictions, and the production of locality through an examination of the Kenyan music video industry. Localities are constructed, in part, through the constitutive work of the imagination. Friction occurs when divergent constructions of the global imaginary become entangled with each other. Through an examination of the production, distribution, and reception of Kenyan music videos, this study identifies three types of friction that occur in cultural production: collaborative frictions, in which collectivities work across differences toward a common cause; combative frictions, in which collectivities are positioned in direct opposition to each other; and competitive frictions, in which the interests of different collectivities conflict at times and align at others. This study contributes to scholarship on cultural production in non-Western contexts by articulating hybridity as both an antecedent to and outcome of transcultural exchange.

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7

Nyairo, J. "Popular music, popular politics: Unbwogable and the idioms of freedom in Kenyan popular music." African Affairs 104, no. 415 (April 1, 2005): 225–49. http://dx.doi.org/10.1093/afraf/adi012.

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8

Floyd, Malcolm. "Individual: Community: Nation a Case Study in Maasai Music and Kenyan Education." International Journal of Music Education os-38, no. 1 (November 2001): 13–28. http://dx.doi.org/10.1177/025576140103800103.

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9

Wa Mungai, Mbugua. "‘Made in Riverwood’: (dis)locating identities and power through Kenyan pop music." Journal of African Cultural Studies 20, no. 1 (June 2008): 57–70. http://dx.doi.org/10.1080/13696810802159263.

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10

Nyairo, Joyce. "‘Reading the referents’: the ghost of America in contemporary Kenyan popular music." Scrutiny2 9, no. 1 (January 2004): 39–55. http://dx.doi.org/10.1080/18125440408566016.

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11

Ochola, Elizabeth Auma. "Gender Differences in the Perception of the Levels and Potential Effects of Violence in Popular Music." International Journal for Innovation Education and Research 4, no. 10 (October 31, 2016): 81–90. http://dx.doi.org/10.31686/ijier.vol4.iss10.600.

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The effect of popular music on the behavior and emotions of youth is of significant concern to policy makers in government and the general public. Lyrics have become more explicit in their references to drugs, sex, and violence over the years. Notably, rap music is characterized by sexually explicit language in its lyrics as well as messages of violence, racism, drugs, homophobia, and hatred toward women. These depictions of violence and deviance are likely to have negative influence on the behavior and moral values of the youth who listen to such music with far reaching impact of risky behavior in future. Therefore, this study was interested in uncovering the type of the popular music that Kenyan youth listen to; the type of violent and deviant information contained in such popular music and the subsequent effect of these violent and deviant messages on their attitude and behavior. The study targeted male and female undergraduate students from the University of Nairobi. A sample of 200 undergraduate students (100 male and 100 female) was drawn using multistage sampling procedures and systematic random sampling. Data was collected using a self-administered questionnaire with both structured and open-ended questions.Data analysis was done using descriptive statistics where frequency, percentages and measures of central tendency were used. Inferential statistics (chi-test) were used to test the effect of popular music on attitude and behavior of youth in Kenya.The study confirmed gender difference in the attitude towards popular music among the youth with female students having negative attitude while their male counterparts had a more favorable attitude towards popular music. It was also established that increasing exposure to popular music had detrimental effects including; increased vulnerability to drug and substance abuse, violence, crime, illicit sexual behavior, disease burden and loss of moral values. The study concludes that popular music was likely to have profound immediate and long term negative effects to the attitude and behavior of youth in Kenya. Their lyrical content was found to be offensive to both male and female but with bias against women and therefore likely to promote aggressive and violent behaviors towards women.

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12

Wanyama, Mellitus Nyongesa. "Researching on Kenyan Traditional Music and Dance Today: Methodology and Ethical Issues Revisited." Muziki 9, no. 2 (November 2012): 1–8. http://dx.doi.org/10.1080/18125980.2012.742231.

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13

Mboya, T. Michael. "Ethnicity and the brokerage of Kenyan popular music: categorizing ‘Riziki’ by Ja-Mnazi Afrika." Journal of African Cultural Studies 27, no. 2 (February 12, 2015): 205–15. http://dx.doi.org/10.1080/13696815.2015.1010637.

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14

Lamont, Mark. "Lip-synch Gospel: Christian Music and the Ethnopoetics of Identity in Kenya." Africa 80, no. 3 (August 2010): 473–96. http://dx.doi.org/10.3366/afr.2010.0306.

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In recent years there has been an outpouring of Kenyan scholarship on the ways popular musicians engage with politics in the public sphere. With respect to the rise in the 1990s and 2000s of gospel music – whose politics are more pietistic than activist – this article challenges how to ‘understand’ the politics of gospel music taken from a small speech community, in this case the Meru. In observing street performances of a new style of preaching, ‘lip-synch’ gospel, I offer ethnographic readings of song lyrics to show that Meru's gospel singers can address moral debates not readily aired in mainline and Pentecostal-Charismatic churches. Critical of hypocrisy in the church and engaging with a wider politics of belonging and identity, Meru gospel singers weave localized ethnopoetics into their Christian music, with the effect that their politics effectively remain concealed within Meru and invisible to the national public sphere. While contesting the perceived corruption, sin and hypocrisy in everyday sociality, such Meru gospel singer groups cannot rightly be considered a local ‘counter-public’ because they still work their politics in the shadows of the churches.

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15

Peck, RaShelle R. "Love, Struggle, and Compromises: The Political Seriousness of Nairobi Underground Hip Hop." African Studies Review 61, no. 2 (April 19, 2018): 111–33. http://dx.doi.org/10.1017/asr.2017.143.

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Abstract:This article explores the characteristics of Nairobi underground hip hop that fit under a common theme of what I term as the music’s “political seriousness,” which is the common notion that the music must be substantive, thought-provoking, socially critical, and never vacuous. This political seriousness is composed of four characteristics: Mau Mau gendered legacies, political love, a reliance on neoliberalism, and a critique of the state. Hip hop’s goal is to make a political space that both proves its worth and remedies Kenya’s flawed polity. This is an imperfect endeavor, as its dependence on late capitalism, normative gender constructions, and conventional understandings of the Mau Mau war contribute to rap’s troubling tendencies. Nonetheless, these artists regard hip hop as authentic or real music because it advocates for the economically disenfranchised, contributes to Kenyan social commentary, and participates in an imagined global hip hop culture.

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16

Bethke, Andrew-John. "Music in Kenyan Christianity: Logooli Religious Song. Jean Ngoya Kidula. 2013. Bloomington: Indiana University Press. 17 bw illus., 53 music exs, index, 312pp." African Music: Journal of the International Library of African Music 9 (2014): 149–51. http://dx.doi.org/10.21504/amj.v9i4.1892.

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17

Nyairo, Joyce, and James Ogude. "Specificities: Popular Music and the Negotiation of Contemporary Kenyan Identity: The Example of Nairobi City Ensemble." Social Identities 9, no. 3 (September 2003): 383–400. http://dx.doi.org/10.1080/1350463032000129993.

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18

Park, Jeong Kyung, James Nyachae Michira, and Seo Young Yun. "African hip hop as a rhizomic art form articulating urban youth identity and resistance with reference to Kenyan genge and Ghanaian hiplife." Journal of the Musical Arts in Africa 16, no. 1-2 (July 3, 2019): 99–118. http://dx.doi.org/10.2989/18121004.2019.1686225.

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19

Nyairo, Joyce. "Kenyan gospel sountracks: crossing boundaries, mapping audiences." Journal of African Cultural Studies 20, no. 1 (June 2008): 71–83. http://dx.doi.org/10.1080/13696810802159289.

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20

van Klinken, Adriaan. "Citizenship of Love: The Politics, Ethics and Aesthetics of Sexual Citizenship in a Kenyan Gay Music Video." Citizenship Studies 22, no. 6 (July 11, 2018): 650–65. http://dx.doi.org/10.1080/13621025.2018.1494901.

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21

Parsitau, Damaris Seleina. "“Then Sings My Soul”: Gospel Music as Popular Culture in the Spiritual lives of Kenyan Pentecostal/Charismatic Christians." Journal of Religion and Popular Culture 14, no. 1 (September 2006): 3. http://dx.doi.org/10.3138/jrpc.14.1.003.

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22

Kenneth, Rono Kiplangat, and Christopher Omusula. "Youth Radicalization in Africa: A Comparative Analysis of Radicalized Groups." Scholedge International Journal of Multidisciplinary & Allied Studies ISSN 2394-336X 3, no. 9 (November 26, 2016): 185. http://dx.doi.org/10.19085/journal.sijmas030902.

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A lot of efforts are being exerted by world’s governments and other stakeholders to achieve higher rates of Accessibility to Education. Militia groups the world over have recruited and radicalized the potential school going children into their militant outfits to either fight in battlefields, or use them as spies or suicide bombers denying them opportunities of accessing education that would have been very valuable in their development. These groups abduct torture and kill victims, cause untold sufferings of their captives. In Africa, BokoHaramu in Nigeria opposes modern formal education and hinders the youth from accessing benefits associated with formal education they kidnap students from schools, women from market places, rape and force them into marriages. Mungiki in Kenya has caused school enrolment in central Kenya to drop. Their forced initiations into the groups, doctrines and practice or threat of Female Genital Mutilations, the taking of drugs and the insecurity caused by the sect members are the major challenges the Kenyan Nation is facing as a threat to realization of the objectives of vision 2030 in its former Central Province. The groups, in their teachings, associate formal education with neo-colonialism or western imperialism. Al-Shabab enforces its own harsh interpretation of sharia law, prohibiting various types of entertainment, such as movies and music, the sale of khat, smoking, the shaving of beards, and many other “un-Islamic” activities. This paper examines historical and Philosophical backgrounds of some of the militia groups in Africa such as Al-Shabab in Somalia, Boko Haram in Nigeria and Mungiki in Kenya. Highlighting modes of recruitment, radicalization and how school aged youths are utilized by militia groups. The paper argues that use of strategies such as military force in Nigeria on Boko Haram has failed to bear any fruits. It suggests that skewed distribution of national educational funds could be an impetus to forces of radicalization of youth. Therefore, this paper suggests strategies that can be used to counter the recruitment and radicalization of youths in an effort to improve Educational Access and Equity in Africa.

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23

Ligaga, Dina. "Mapping emerging constructions of good time girls in Kenyan popular media." Journal of African Cultural Studies 26, no. 3 (July 28, 2014): 249–61. http://dx.doi.org/10.1080/13696815.2014.927324.

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24

AKOMBO, DAVID O. "Music in Kenyan Christianity: Logooli Religious Song by Jean Ngoya Kidula Bloomington, IN: Indiana University Press, 2013. Pp. 312. £19·99 (pbk)." Journal of Modern African Studies 53, no. 1 (February 12, 2015): 137–38. http://dx.doi.org/10.1017/s0022278x15000099.

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25

Quet, Mathieu. "Fakeness, Human-Object Fluidity and Ethnic Suspicion on the Kenyan Pharmaceutical Market." Journal of African Cultural Studies 33, no. 3 (July 3, 2021): 359–63. http://dx.doi.org/10.1080/13696815.2021.1886057.

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26

Ngeno, Beatrice, Maureen Mweru, and Teresa Mwoma. "Availability of Physical Infrastructure in Implementation of the Competence-Based Curriculum in Public Primary Schools in Kericho County." East African Journal of Education Studies 3, no. 1 (June 14, 2021): 130–46. http://dx.doi.org/10.37284/eajes.3.1.344.

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A competency-based curriculum is a curriculum that allows students to develop prescribed competencies. In Kenya, the Competence-Based Curriculum implementation of 2-6-6-3 was adopted in January 2017. This education system replaces the 8-4-4 system of education and it aims to nurture the learners’ talents. School preparedness for the new curriculum change in Kenyan public primary schools is very important in the education policy framework. When curriculum changes take place in education, teachers as instructors and implementers should be supported to be competent in their work. The educators have a responsibility to ensure that today’s learning content meets tomorrow’s global demands for every learner. However, in Kenya, various stakeholders have expressed concerns regarding school and teachers’ preparedness for the Competence-Based Curriculum. The objective of the study was to find out whether there is a relationship between the availability of physical infrastructure and the implementation of the competency-based curriculum. Dewey’s Social Constructivism theory guided the study. A descriptive survey design and correlation research design was used in this study. The target population of the study included 24 County Support Officers (CSOs’), 524 headteachers, and 610 Grade 1 teachers. The sample size was 6 CSOs, 52 Headteachers, and 61 Grade 1 teachers. A saturated sampling technique was used to select all the 52 headteachers from 52 schools. Simple random sampling was used to select the schools and CSOs. A purposive sampling technique was used to select Grade 1 teachers in Kericho County. Data was collected using interview schedules, questionnaires, and an observation schedule. Quantitative data were analysed using descriptive statistics in the form of percentages, means, and standard deviation, while inferential statistics were correlated using Pearson product-moment correlation. Qualitative data was analysed using themes and sub-themes. The findings established that physical infrastructure had a moderate positive influence on CBC implementation with a correlation of 0.336 and a calculated value of 0.029 for the headteachers and 0.285 with a calculated value of 0.03 for Grade 1 teachers. Shortage of physical infrastructures like nutrition rooms and music rooms had a mean of 2.18 and 1.88 for headteachers. Grade 1 teachers’ response was 1.39 and 1.35 for nutrition and music laboratories respectively. The findings of the headteachers on teacher preparation had a moderate positive influence on CBC with a correlation of 0.494 with a calculated value of 0.00. The teachers had a correlation of 0.369 with a calculated value of 0.005 and were significant to the study. The study recommended that the government should increase funds to enable schools to construct laboratories. The results of this study are important for the successful adoption of the competency-based program through the participation of education stakeholders.

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Omanga, Duncan Mainye. "‘Raid at Abbottabad’: editorial cartoons and the ‘terrorist almighty’ in the Kenyan press." Journal of African Cultural Studies 26, no. 1 (July 3, 2013): 15–32. http://dx.doi.org/10.1080/13696815.2013.808991.

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28

Githiora, Christopher K. "Recreating discourse and performance in Kenyan urban space through Mũgithi, Hip Hop and Gĩcandĩ." Journal of African Cultural Studies 20, no. 1 (June 2008): 85–93. http://dx.doi.org/10.1080/13696810802159305.

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29

Moore, Henrietta L., and Constance Smith. "The Dotcom and the Digital." Public Culture 32, no. 3 (September 1, 2020): 513–38. http://dx.doi.org/10.1215/08992363-8358698.

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In Kenya, the terms dotcom and digital have become popular descriptors for particular periods of change, as well as for modes of being. The two terms’ usage extends beyond reference to the age of the Internet or to encounters with new technologies. Rather, the dotcom and the digital—in different ways and in different decades—enable Kenyans to imagine with and through time. Using extensive ethnographic research and reflecting on pop music, TV advertising, and streetscapes, we explore how, for many Kenyans the dotcom and the digital are tools for making sense of the times in which they live. Drawing on the work of Paul Ricoeur, we tease apart what it means to be dotcom and digital in Kenya, exploring how experiences of time are also projects of self-making and critical intervention.

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30

Prof. Mellitus N. WANYAMA; Prof. Frederick B. J. A. NGALA, Joyce M. MOCHERE;. "The Relevance of University Music Curricula to the Requirements of Church Music Job Market in Kenya." Editon Consortium Journal of Curriculum and Educational Studies 2, no. 1 (October 7, 2020): 250–74. http://dx.doi.org/10.51317/ecjces.v2i1.161.

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In the prevailing global church music job market, church worship ministers or music directors are on high demand as they play a crucial role in church liturgy and other church musical events. Globally, many universities offer programmes on music training and pastoral leadership. In Kenya, such training is predominantly in theological schools with few universities offering such programmes. Currently, there is a growing interest of church musicians in Kenya due to the need to spread the gospel beyond the church walls and to promote ecumenism. For example, churches participate in church crusades, church concerts, and inter-churches music festivals. This strengthens the need for church worship ministers with music and leadership training. Universities in Kenya are, therefore, obligated to offer church music programmes that will enable these worship ministers to fit in the current job market. The discourse on church music, though, is rare in Kenya hence limited literature on the same. The study had an objective of establishing the relevance of university music curricula to the requirements of church music job market in Kenya. Elliot's Praxial theory underpinned the study. The study found out that universities are not keen to include music programmes that are relevant to the music job market. The Simple Matching Coefficient (SMC) of university X and Y music curricula to the requirements of church music job market was 0.00. Both universities did not have a church music program hence missing all the requirements of the given job market. The study recommends that there is a need to develop church music programmes in universities in Kenya, and this can be done in collaboration with the Schools of Theology at the university.

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Shitambasi, Sumba B. "Effect of Aural Tests on Choice of Music as a Study Subject by Muslim Students in Mombasa County, Kenya." European Journal of Education and Pedagogy 2, no. 3 (July 20, 2021): 137–40. http://dx.doi.org/10.24018/ejedu.2021.2.3.134.

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Music education has a global acceptance as it helps improve and promote/ develop creativity and language skills among students. However, among the Muslim community, excessive instrumental music is not given prominence. This comes from the Hadiths by the prophet Muhammad that forbid music. In Kenya, the coastal region is mostly comprised of the Muslim community who hardly choose to pursue Music subject. This prompted this study that evaluated the effect of the inclusion of the aural tests in the curriculum on the choice of Music as a study subject by Muslim students in Mombasa County, Kenya. The study used a survey research design. The sample population consisted of 27 participants as follows: 2 music teachers, 8 students, 8 parents, 1 Kenya Institute Curriculum Development Officer at the national level, 1 Quality Assurance and Standard Officer and 7 career masters. Data was collected through questionnaires and interviews, which was analysed using both qualitative and quantitative methods. Findings show that there were negative perception aural tests (listening and notating non-Islamic music) due to religious requirement as well as ignorance that led to Muslim students dropping Music subject. In conclusion, despite the knowledge of the Muslim parents at the coast region of Kenya on their children choice of Music as a stud subject, they do not influence them from dropping it at senior secondary. The teaching by Prophet Muhamad against Music and its propagation by the Imams and other Muslim leaders at the coast of Kenya led to most Muslim sponsored schools in Kenya to disadvantage against choosing Music subject as a career path. The study recommends that priority should be given to Islamic content in music studies and encouraging Muslim communities in Kenya to embrace music as a career subject.

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32

Prof. Frederick B. J. A. NGALA; Prof. Mellitus N. WANYAMA, Joyce M. MOCHERE;. "The Relevance of University Music Curricula to the Requirements of Music Production Job Market in Kenya." Editon Consortium Journal of Curriculum and Educational Studies 2, no. 1 (October 7, 2020): 213–37. http://dx.doi.org/10.51317/ecjces.v2i1.160.

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Music production is one of the job markets that has gained popularity around the world, including Kenya. Universities have come up with music production programmes in order to prepare bachelor of music learners for this viable music job market opportunity. However, it is the observation of many studies that universities are not preparing job-ready graduates. With the advance of the digital era that is seamlessly permeating every sector of the music job market, attention needs to be given to the music production programs in Kenya. This study purposed to establish the relevance of university music curricula to the requirements of music production job markets in Kenya. Elliot’s (2005) praxial theory underpinned the study. The results revealed that music production curriculum of university X did not meet most of the job market requirements while that of Y met most of the requirements. The Simple Matching Coefficient (SMC) of university X was 0.59 while that for university Y was 1.00. This finding revealed that the music production university music curricula could not be entirely termed as 'irrelevant', but it depended on individual universities. The recommendation was that university music schools should revise and restructure their music curricula to accurately reflect the music production job market in Kenya to compete favourably, locally and internationally.

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33

Mutongi, Kenda. "Thugs or Entrepreneurs? Perceptions of Matatu Operators in Nairobi, 1970 to the Present." Africa 76, no. 4 (November 2006): 549–68. http://dx.doi.org/10.3366/afr.2006.0072.

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AbstractThis essay examines the changing perceptions of matatu crews from the 1970s to the present. In the early 1970s commuters and many Kenyans typically viewed the matatu operators as an important, enterprising group of people, contributing to the economic development of the new nation of Kenya. This perception changed drastically in the 1980s when commuters, and indeed many Kenyans of all ranks, increasingly saw the matatu operators as thugs engaging in excessive behaviour – using misogynistic language, rudely handling passengers, playing loud music and driving at dangerously high speeds. Worse, the matatu operators were forced to join cartels that fought against reform and enabled this kind of behaviour. Nevertheless, I argue that, in many ways, the commuters have been complicit in creating the notorious matatu man – a creature they purport to hate, and then have conveniently used as a scapegoat whenever they see fit. In other words, the commuters have created the monster and then attacked it in order to exorcise their collective guilt.

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34

Akombo, David Otieno. "Reporting on Music Therapy in Kenya." Norsk Tidsskrift for Musikkterapi 9, no. 1 (January 2000): 60–63. http://dx.doi.org/10.1080/08098130009477987.

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35

Ramadina, Dini Dwi Dista, Rosyid Al Atok, and Didik Sukriono. "Menumbuhkan nasionalisme di kalangan remaja kelompok seni musik Patrol Perkusi Bendho Agung di Desa Gadungsari Kecamatan Tirtoyudo Kabupaten Malang." Jurnal Integrasi dan Harmoni Inovatif Ilmu-Ilmu Sosial 1, no. 2 (February 28, 2021): 182–93. http://dx.doi.org/10.17977/um063v1i2p182-193.

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This study aims to describe how to grow an attitude of nationalism, the appearance of nationalism, obstacles in developing nationalism, and those efforts are made to overcome obstacles to developing nationalism among youths Bendho Agung Percussion Patrol Music Art Group. This study uses a qualitative approach with descriptive research type. Data collection was carried out by means of observation, interviews, and documentation study. Data analysis using interactive analysis. Checking the validity of the data using triangulation techniques. how to grow an attitude of nationalism among adolescents with doing various activities includes of dancing traditional dances and playing traditional percussion patrol instruments such as kenong, saron, tambourine, drums, plastic drum, iron drum, gong and all members should to memorize the national song and folk songs. The appearance of nationalism is that the members t-shirts have nuances or patterns of batik and it doesn’t have feeling inferior or inferiority when playing traditional musical instruments and dancing traditional dances. The develeoping nationalism among youths is also inseparable from the obstacles when realizing nationalism among youths Bendho Agung Percussion Patrol Music Art Group, these obstacles are the include the time clashes between school time and the time of the event and the lack of dance costumes of Bendho Agung Percussion Patrol Music Art Group. In overcoming these obstacles the Bendho Agung Percussion Patrol Music Art Group makes efforts to overcome them by giving permission to schools and borrow or rent dance costumes in an art studio Turen. Kajian ini bertujuan mendiskripsikan cara menumbuhkan nasionalisme, bentuk perwujudan nasionalisme, kendala yang dihadapi dalam menerapkan nasionalisme, dan solusi dalam menghadapi kendala penerapan nasionalisme di kalangan remaja Kelompok Seni Musik Patrol Perkusi Bendho Agung. Kajian ini menggunakan pendekatan kualitatif dengan jenis penelitian deskriptif. Pengumpulan data dilakukan dengan cara observasi, wawancara, dan studi dokumentasi. Analisis data menggunakan analisis interaktif. Pengecekan keabsahan data menggunakan triangulasi sumber. Cara menumbuhkan sikap nasionalisme di kalangan remaja diantaranya melalui kegiatan menari tari tradisional, bermain alat musik tradisional patrol perkusi seperti kenong, dig dug, saron, rebana, kendang, drum plastik, drum besi, gong dan mewajibkan seluruh anggota untuk hafal lagu nasional dan lagu-lagu daerah. Bentuk perwujudan nasionalisme diantaranya kaos anggota ada nuansa atau corak batik dan tidak ada rasa minder atau rendah diri ketika bermain alat musik tradisional dan menari tarian tradisional. Dalam menumbuhkan nasionalisme di kalangan remaja tidak lepas dari kendala-kendala yang muncul saat mewujudkan nasionalme di kalangan renaja Kelompok Seni Musik Patrol Perkusi Bendho Agung, kendala tersebut yaitu waktu yang bentrok antara waktu sekolah dengan waktu event dan kurangnya kostum tari yang dimiliki Kelompok Seni Musik Patrol Perkusi Bendho Agung. Dalam mengatasi kendala-kendala tersebut, Kelompok Seni Musik Patrol Perkusi Bendho Agung melakukan upaya-upaya dalam mengatasinya dengan cara memberian surat izin ke sekolah dan meminjam atau menyewa kostum tari di sanggar seni Turen.

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Pramudya, Nicolas Agung. "Penciptaan Karya Komposisi Musik Sebagai Sebuah Penyampaian Makna Pengalaman Empiris Menjadi Sebuah Mahakarya." Gelar : Jurnal Seni Budaya 17, no. 1 (August 6, 2019): 14–23. http://dx.doi.org/10.33153/glr.v17i1.2597.

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ABSTRAK Komposisi Musik “Katur Ibu” adalah komposisi musik yang ide penggarapannya berangkat dari sebuah cinta, pengorbanan dan kasih sayang yang dikemas dengan format tradisi dan modern menghadirkan warna baru dalam komposisi penciptaan, yang membentuk sebuah karya musik yang utuh. Jenis karya seni tidak menata pada kejadian menurut alur yang sebenarnya akan tetapi lebih kepada suasana yang mendukung. Komposisi musik “Katur Ibu” terdiri dari 5 bentuk utama dengan menggunakan tempo Allegro, moderato, adagio, andante, dan vivance, yang dapat menggambarkan suasana tenang, sedih, gembira dan semangat, pengkarya maknai sebagai guratan sisi pandang terhadap realita yang terlintas dalam fikiran pengkarya seperti emosi penyesalan, kegamangan, ketulusan dan impian. Penyajian komposisi musik “Katur Ibu” memakai beberapa instrument pokok dan intrumen pendukung yaitu, Piano sebagai melodi utama, flute, bass elektrik, drum pad DTX, saron, bonang, kendang Sunda dan keyboard sebagai Accompainement dalam komposisi musik yang dikemas dalam konsep pertunjukan ini. Kata kunci: Komposisi, pengalaman empiris, Katur Ibu. ABSTRACT “Katur Ibu” Music Composition is a musical composition which the cultivation ideas depart from a love, sacrifice and affection that is packaged in a traditional and modern format presenting a new color in the composition of creation, which forms a complete musical work. types of artworks do not arrange the events according to the actual plot but rather to the atmosphere that supports it. The musical composition “Katur Ibu” consists of 5 main forms using tempo Allegro, moderato, adagio, andante, and vivance, which can describe the atmosphere of calm, sadness, joy and enthusiasm. The composer means as a side view of reality that comes to mind such as emotions of regret, anxiety, sincerity and dreams. The presentation of “Katur Ibu” music composition uses several basic instruments and accompanying instruments, including, Piano as the main melody, flute, electric bass, DTX drum, saron, bonang, Sundanese drum and keyboard as Accompainement in the musical composition that is packaged for the show. Keywords: Composition, empirical experience, Katur Ibu.

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Mwangi, Evan. "Sex, Music, and the City in a Globalized East Africa." PMLA/Publications of the Modern Language Association of America 122, no. 1 (January 2007): 321–24. http://dx.doi.org/10.1632/pmla.2007.122.1.321.

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One of the first things i noticed on landing in my hometown of nairobi, kenya, for summer vacation this year was the continued proliferation of new-style music that undermines traditional ties with the solid rural identities seen previously as quintessential manifestations of patriotism and African racial pride. Radios in duty-free shops at the Jomo Kenyatta International Airport were tuned to various FM stations, which issued beats that were a cross between Western hip-hop and traditional village music. Notable were the songs' calls for dissolving the boundaries between East African countries—namely, Kenya, Tanzania, and Uganda.

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MURPHY, REGINA, and MARTIN FAUTLEY. "Music Education in Africa." British Journal of Music Education 32, no. 3 (November 2015): 243–45. http://dx.doi.org/10.1017/s0265051715000388.

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Coming from Botswana, South Africa, Zimbabwe, Ghana and Kenya, the papers in this Special Issue on Music Education in Africa cannot portray a definitive story of music education in all 54 sovereign states in the Continent, but as a first step towards understanding what matters in this region of the world, the range of topics in this issue provides us with a focal point for dialogue.

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Collins, John. "The early history of West African highlife music." Popular Music 8, no. 3 (October 1989): 221–30. http://dx.doi.org/10.1017/s0261143000003524.

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Highlife is one of the myriad varieties of acculturated popular dance-music styles that have been emerging from Africa this century and which fuse African with Western (i.e. European and American) and islamic influences. Besides highlife, other examples include kwela, township jive and mbaqanga from South Africa, chimurenga from Zimbabwe, the benga beat from Kenya, taraab music from the East African coast, Congo jazz (soukous) from Central Africa, rai music from North Africa, juju and apala music from western Nigeria, makossa from the Cameroons and mbalax from Senegal.

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Akuno, Emily Achieng'. "The Singing Teacher's Role in Educating Children's Abilities, Sensibilities and Sensitivities." British Journal of Music Education 32, no. 3 (November 2015): 299–313. http://dx.doi.org/10.1017/s0265051715000364.

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In 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.

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Fujie, Linda, and Virginia Kathlene Gorlinski. "The Kenyah of Kalimantan (Indonesia)." Yearbook for Traditional Music 28 (1996): 235. http://dx.doi.org/10.2307/767857.

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HARRIS, ELLEN T. "EDITORIAL." Eighteenth Century Music 13, no. 1 (February 11, 2016): 5–9. http://dx.doi.org/10.1017/s1478570615000391.

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As is now generally agreed, so-called ‘authentic’ performances of baroque music are modern in conception and sound. The point was argued convincingly during the 1980s by Laurence Dreyfus, Richard Taruskin and others (Dreyfus, ‘Early Music Defended against Its Devotees: A Theory of Historical Performance in the Twentieth Century’, The Musical Quarterly 69/3 (1983), 297–322; Taruskin, Daniel Leech-Wilkinson, Nicholas Temperley and Robert Winter, ‘The Limits of Authenticity: A Discussion’, Early Music 12/1 (1984), 3–25; Nicholas Kenyon, ed., Authenticity and Early Music: A Symposium (Oxford: Oxford University Press, 1988)). Radically separated from nineteenth-century performance traditions, the reconstructed ‘old’ sound was exciting and new, and, for me at least, there have been occasions when these ‘authentic’ performances have been revelatory, shedding light on music I thought I knew (although, to be fully confessional in terms of the era in which it all began, I also loved the Swingle Singers and Wendy (Walter) Carlos's Switched-On Bach).

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Akombo, David O. "Teaching about music and musical instruments of Kenya." Korean Music Education Society 50, no. 2 (May 31, 2021): 221–45. http://dx.doi.org/10.30775/kmes.50.2.221.

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Asriyani, Nur, and Abdul Rachman. "Enkulturasi Musik Keroncong oleh O.K Gema Kencana Melalui Konser Tahunan di Banyumas." Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik 1, no. 2 (December 3, 2019): 74–86. http://dx.doi.org/10.24036/musikolastika.v1i2.27.

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Musik Keroncong pada perkembangannya mengalami kemunduran seiring dengan perkembangan ilmu pengetahuan dan teknologi. Salah satu Orkes Keroncong di Kabupaten Banyumas yaitu O.K Gema Kencana Banyumas berupaya untuk mempertahankan, mewariskan, dan meneruskan musik keroncong kepada generasi muda dan masyarakat agar tidak hilang ditelan perkembangan zaman. Penelitian ini bertujuan untuk mengetahui proses enkulturasi yang diberikan oleh O.K Gema Kencana Banyumas melalui konser tahunan musik keroncong. Metode penelitian yang digunakan adalah kualitatif. Teknik pengumpulan data menggunakan teknik observasi, wawancara, dan studi dokumen. Hasil penelitian menunjukkan bahwa enkulturasi yang diberikan oleh O.K Gema Kencana kepada masyarakat melalui konser tahunan yaitu dapat mengamati dan menilai pola permainan dan aransemen dari berbagai grup dan juga alat musik yang digunakan. Seluruh tamu undangan mendapatkan pengetahuan yang baru dan luas dengan adanya konser keroncong yang diadakan oleh O.K Gema Kencana.

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Koech, Leonard K. "Relationship between Watching ‘Gengetone’ Music and Drug Abuse among the Youth in Uasin Gishu County, Kenya." East African Journal of Interdisciplinary Studies 3, no. 1 (April 1, 2021): 103–15. http://dx.doi.org/10.37284/eajis.3.1.312.

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Drugs, substance and alcohol abuse by many youths is as a result of various factors. Research conducted in the past have looked at how mass media channels (video and TV) and their influence on abuse of drugs and other substances among the youth. The purpose of this paper is to investigate how drug-related information portrayed on Gengetone music influences drugs and substance abuse among youths in Eldoret town. The research objectives were to investigate how the acceptability level of ‘Gengetone’ music and videos among youths, to examine ways in which ‘Gengetone music lyrics communicate information on drugs, substance and alcohol abuse and establish the effect of listening of Gengetone music on drugs and substance abuse among youths in Uasin Gishu County. The study adopted George Gerbner’s Cultivation Theory. The study utilised descriptive survey. Questionnaires and interviews were utilised to collect data from selected youths aged 20 – 30 years residing in Eldoret town four estates numbering 80 and one county officer in charge of NACADA North Rift office. Analysis of data was done through qualitative (content analysis method) and quantitative approaches (descriptive statistics); The study found out that indeed lyrics, images and videos contained in some Gengetone music promoted drugs, substance and alcohol abuse by young people in the study area. This means that music preference performed a significant role in determining the level of drugs and substance abuse by youth in Eldoret town. This calls for stakeholder involvement in educating the upcoming artist on the importance of developing Gengetone music that is clean and creates awareness on the dangers of youth addiction to drugs, other substances and alcohol.

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Dewi, Cicilia Dikna Astrina, and Suharto Suharto. "Musical Development Of Barongan Turonggo Laras Through Additional Instrument In Kendal Regency." Jurnal Seni Musik 10, no. 1 (June 30, 2021): 86–92. http://dx.doi.org/10.15294/jsm.v10i1.46058.

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This study aims to determine, describe, and analyze the development of the Barongan work of the Turonggo Laras group in Kendal Regency. The method used is descriptive qualitative with a musicological approach. Data collection techniques include observation, interviews, and documentation. The results showed that the development of working on Barongan Turonggo Laras music was in the form of adding western musical instruments, such as drums and keyboards in collaboration with gamelan. The use of the keyboard is intended as a filler for the main melody in campursari songs. This is because there are tones in the campursari song that does not exist on the gamelan instrument but exist on the keyboard. The addition of drums in the show is intended to lift the mood and strengthen the trance scene. The drum play tends to follow the dynamics of the kendang when accompanying the performance.

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Peters, Michael, and Ethan Wahl. "Eldoret, Kenya: Creating a Music Experience for Street Youth." Purdue Journal of Service-Learning and International Engagement 4, no. 1 (October 2017): 18–21. http://dx.doi.org/10.5703/1288284316523.

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Akuno, Emily Achieng’. "Perceptions and reflections of music teacher education in Kenya." International Journal of Music Education 30, no. 3 (May 18, 2012): 272–91. http://dx.doi.org/10.1177/0255761412437818.

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Cohen, Albert. ""Authenticity and Early Music: A Symposium," Edited by Nicholas Kenyon." Performance Practice Review 2, no. 2 (1989): 173–76. http://dx.doi.org/10.5642/perfpr.198902.02.8.

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Mutonya, Maina. "Praise and Protest: Music and Contesting Patriotisms in Postcolonial Kenya." Social Dynamics 30, no. 2 (June 2004): 20–35. http://dx.doi.org/10.1080/02533950408628683.

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