Situating Traditional Music Within Modernity

Chapter 5 Situating Traditional Music Within Modernity

(1) Exploring Cultural Coexistence in East Africa Today (pp 89-100)

Contemporary urban performances of music, dance, and drama express the contact with other cultures with multiple musical languages coexisting in the musical soundscape of East Africa. The material on pages 89-100 explore the shifting identities—musical and cultural— brought about by ongoing contacts with modernity.

Questions to Facilitate Class Discussion: S, C/U

1. How do contemporary African musicians interact with and adjust to contacts with multiple musical styles? Give examples drawn from the discussion in the text. 2. The three choral selections performed by students of Makerere College School express three levels of identity. What are these identities and how does each selection show a specific type of identity? 3. In what ways are East African musicians able to maintain contact with their musical roots while performing “modern” styles? 4. In what ways do contemporary East African musicians “depart” or “repudiate” their traditional musical roots?

Performance Opportunities: AA (melody line only) S,C/U (singing all parts)

1. Learn to sing “Oluyimba Lwe’eggwanga” (“The Pearl of Africa”) on pages 91-92 of the text and reproduced as Exercise 5.1 in the Supplemental exercises: a. Listen to CD Track 23 (Medley of “Oluyimba Lwe’eggwanga,” “Ekittbwa Kya Buganda,” and “Marching Along”) focusing upon “Oluyimba Lwe’eggwanga” (Begins at 0:00) b. Sing “Oluyimba Lwe’eggwanga” on neutral syllables or solfege syllables. Listen to “Oluyimba Lwe’eggwanga” on CD Track 23 again, this time focusing upon pronunciation of the lyrics. Practice saying lyrics in rhythm repeating listening to CD as necessary to correct pronunciation. c. Sing “Oluyimba Lwe’eggwanga” using original lyrics. 2. Learn to sing “Ekittbwa Kya Buganda” (“Pride of Uganda”)on pages 94-97 of the text and reproduced as Exercise 5.2 in the Supplemental exercises: a. Listen to CD Track 23 (Medley of “Oluyimba Lwe’eggwanga,” “Ekittbwa Kya Buganda,” and “Marching Along”) focusing upon “Oluyimba Lwe’eggwanga” (Begins at 0:35) b. Sing “Ekittbwa Kya Buganda” on neutral syllables or solfege syllables. c. Listen to “Ekittbwa Kya Buganda” on CD Track 23 again, this time focusing upon pronunciation of the lyrics. Practice saying lyrics in rhythm repeating listening to CD as necessary to correct pronunciation. Listen carefully to division of syllables as well since lyrics are not placed in staff in text. (The soprano line of the chorus is given below showing lyric placement based on recording as an example.)

d. Sing “Ekittbwa Kya Buganda” using Baganda lyrics. 3. Learn to sing “”Marching Along” on pages 98-99 of the text : a. Listen to CD Track 23 (Medley of “Oluyimba Lwe’eggwanga,” “Ekittbwa Kya Buganda,” and “Marching Along”) focusing upon “Marching Along” (Begins at 1:20) b. Sing “Marching Along” on neutral syllables or solfege syllables c. Sing “March Along using English lyrics

(2) Exploring an Alternative Notation System AA

Many transcriptions of African songs are “notated” in an alternative system as shown on pages 96-97 and as Exercise 5.3 in the Supplemental Materials. A brief explanation of this system:

Pitch level is indicated by solfege syllables (d= do, etc) with lower octave indicated by (,) after letter. A rest is indicated by “0” To indicate Rhythm in this 4/4 example, the measure is divided in half by a vertical line with each half of the measure divided in half by (:). One letter per division is equivalent to a quarter note; a dash (--) indicates extended length (Example d:- would be a half note); A period (.) is equivalent to a dot in standard notation.

Activities:

1. Compare the first four measures of the chorus to “Pride of Uganda” to better understand the two notation systems: Alternative notation version:

Standard Western staff notation version:

2. To demonstrate your understanding of the alternate notation system, transcribe a familiar song from standard Western staff notation. Below, as a brief example, are the first four measures of the children’s song “Mary Had a Little Lamb”:

3. Find other examples of this alternative notation system and select a song to transcribe into standard Western staff notation.

(3) Discovering Tradition Within Modernity: “Mu Kkubo Ery ‘Omusaalaba” (pp. 101-108) AA

Composer Justinian Tamusuza purposefully blends European and Ugandan musical sensibilities reflecting both his African upbringing and his training in both African and European musical genres and styles. “Mu Kkubo Ery ‘Omusaalaba” is a string quartet appearing on the Pieces of Africa album recorded by the Kronos Quartet. Read the information in pages 101-108, listen to CD Tracks 24-29, complete Activity 5.1 (page107) then complete the following questions and listening activities 1. Briefly discuss Tamasuza’s early life and training focusing upon those musical skills and educational experiences may have led him to fuse African and Western elements in his music. 2. Which traditional musical style does Tamasuza employ in this quartet? Which instruments from this tradition are emulated in “Mu Kkubo Ery ‘Omusaalaba”?

Listening Experiences: CD Track 24 and CD Track 25 AA (1-2) S,C/U (3)

1. The timbre of the kiganda one-string endingidi is described in the text as raspy and dry. While listening to CD Track 24, do you agree or disagree with this description? How might this timbre be replicated on a Western violin? 2. On CD Track 25, members of the Blair String Quartet (Blair School of Music, Vanderbilt University) attempt to reproduce this timbre by using sul ponticello technique placing the bow close to the bridge of the instrument. Does this technique create a timbre similar to that of the endingidi? 3. String players in class may elect to experiment with different playing techniques in an effort to match the timbre of the endingidi. Refer frequently to CD Track 24 as a model and discuss successes and failures in these performance efforts.

Listening Experiences: CD Track 26 and CD Track 27 AA (1-2 ) S, C/U (3)

1. Drumming is one of the most conspicuous aspects of kiganda music. Tamasuza includes drumming in “Mu Kkubo Ery ‘Omusaalaba” based on patterns associated with the bakisimba drum (Figure 5.6). Listen to CD Track 26 for a demonstration of bakismba drumming technique. 2. Listen to CD Track 27 and note uses of drumming in the Blair String Quartet’s performance. 3. Student percussionists may wish to listen to CD Track 26 and learn rhythm patterns and other performance techniques associated with bakisimba drumming. An advanced player may volunteer to perform these drumming patterns while the class listens to CD Track 27.

Listening Experiences: CD Track 28 and CD Track 29 AA

1. Complete Activity 5.1 on page107 to learn the three roles played by amadinda players in kiganda music. Discuss the use of interlocking patterns demonstrated in this example of kiganda music. 2. Review the description of these role on page 106-107 then listen to CD Track 28 identifying the use of these roles: Omunazi—begins the selection and plays throughout; omwawuzi—enters at 0:35 and continues; omukonezi—enters at 1:07 and continues. Listen to the excerpt from the first movement of “Mu Kkubo Ery ‘Omusaalaba” identifying uses of interlocking patterns modeled on amadina techniques in kiganda traditional music. (4) The Roots of Benga: Andericus Apondi (pp. 108-111) AA Benga is a popular music that emerged from traditional string instrument playing styles such as the nyatiti (harp-lyre) played by eighty year old praise singer Andericus Apondi. Typically, a nyatiti performance involves a male singer singing while accompanying himself on nyatiti and providing rhythmic accompaniment with gara (metal leg rattles) and a metal toe ring. This style has evolved into a popular music performed by a “jazz” ensemble with vocals, bass lines, guitar riffs, and percussion rhythms reminiscent of the traditional nyatiti traditions. Read the information on pages 108-111 and listen to CD Track 31 then use the following questions and activities to guide the class to a fuller understanding of this evolution of traditional music into a popular genre.

1. Which style of music dominated Kenyan popular music until the 1970s? 2. Which ethnic groups in Kenya participated in the development of Benga music? 3. In what venues does Andericus Apondi usually perform his praise songs? 4. What characteristics of Nyatiti praise singing developed into elements of Benga music? Complete exercise 5.4 in the Supplemental materials to serve as guide.

Nyatiti Benga

Interdependence of bass and Playful and omnipresent treble lines (lower and bass and lead guitars in higher lines) in Apondi’s benga—CD Track 32 nyatiti playing—CD Track 31

Rhythm patterns of gara leg Benga drum patterns—CD rattles and iron toe ring— Track 32 CD Track 31

Improvisatory vocal style— Improvisatory vocal style— CD Track 31 CD Track 31

Nyatiti praise singing did not fade once benga became popular

Listening and Performance Opportunities: CD Track 31 AA (1-3) S.C/U (1-4)

On CD Track 31, Apondi performs a praise song in which he weaves together aspects of his own life with the lives of those he is praising as he accompanies himself on the nyatiti..

1. Listen to CD Track 31 noting instruments you hear, rhythms played by percussive sounds, and style of singing. Discuss what you hear with other students. 2. (Optional) Create a Listening Guide marking major sections of CD Track 31 including brief descriptions of musical events.(Exercise 5.5) 3. While listening to CD Track 31, note the rhythms played by gara (leg rattles) and toe ring. During subsequent listenings, students may duplicate this patterns: toe ring can be tapped on desk or foot may tap on floor—if a toe ring is available, students may be designated to use the instrument; gara may be represented by using a jingle stick or by attaching rattles or bells to selected students legs to more exactly duplicate the process of playing this instrument.. 4. The basic melodic framework used in the Nyatiti accompaniment consists of a series of slight variations on the following approximate pitches and rhythms. Students may play this pattern on black keys of keyboard instrument as they listen to CD Track 31. Advanced students may copy some of the variations played by Apondi

(5) Benga in Uganda Today (pp. 111-114)

Modern Benga developed during the late 1960s in clubs on the shore of lake Victoria. Various musicians and groups began to incorporate elements of Luo traditional music, a practice continuing in other popular genres today. In particular, benga musicians adapted many characteristics from the tradition of Nyatiti praise songs.

1. Who were the early Benga players who incorporated elements of Luo traditional musics into popular music styles? 2. What town is considered to be the “birthplace” of Benga? 3. What is the significance of the name of Lawrence Oyuga’s band Kabila Klan? 4. Review the chart created for Exercise 5.4 and discuss how Benga musicians have imitated the musical roles typically assumed by the nyatiti.

Listening to Benga: “Jo Piny” CD Track 32

1. Read the description of “Jo Piny” on pages 113-114 then listen to CD Track 32. 2. What is the instrumentation of Kabila Klan? 3. The lyrics of “Jo Piny” have a message admonishing listeners to “listen to family and elders and change your mind a pray. How does these lyrics relate to the traditional use of music to teach community values 4. In what ways does this performance resemble the nyatiti praise song on CD Track 31? 5. (Optional) Create a Listening Guide for “Jo Piny” identifying major musical events on a time line and providing a brief description for each identified section.