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Esidialo-Samia Marriage Suite

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Esidialo-Samia Marriage Suite ELEMENTS OF CROSS - CULTURAL MUSIC COMPOSITION: THE CREATION OF ESIDIALO – A SAMIA MARRIAGE SUITE by GABRIEL JOSEPH MUSUNGU submitted in accordance with the requirements for the degree of DOCTOR OF LITERATURE ET PHILOSOPHY in the subject MUSICOLOGY at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: MR. G. T. KING CO-SUPERVISOR: DR. T. K. NJOORA JULY 2010 ii ABSTRACT Cross – cultural composition has been defined as the creation of a cultural synthesis of the old and new, traditional and foreign into philosophical, artistic, stylistic and aesthetic product that communicates to various audiences. The study adopted a mode of creativity / dynamic approach through the synthesis of traditional Samia marriage music and Western compositional techniques and approaches. To ground the study in the rich cultural traditions of the Samia people of Funyula Division in Western Province of Kenya, an anthropological documentation formed an important part of the study. The study adopted Absolute Formalism theory by Reimer (1989) based on component relationships in which different parts like harmony, melody, and text rhythm relate to one another to create unity. The study also incorporated Aesthetic Functionalism theory by Akuno (1997) on social functions in which; the contextual meaning of the composition was based. The study used the Accommodation theory on Convergence, Giles and Smith (Giles & St Clair, 1979) to unify the analogous aspects in the two stated theories. In the study, descriptive and creative designs were used to cater for the music and social context. In the descriptive phase, Samia marriage folk songs were collected from traditional performers, who were also, interviewed using a questionnaire. Purposeful and snowball sampling techniques were used to select twenty folk songs. They were recorded, transcribed and analysed for dominant traditional musical features and compositional promise. In the creative phase, lyrics were identified and reorganised, the prevalent features isolated and used. The result was a compositional inspiration on which the Marriage Suite was based. The ultimate product of the study was an artistic model framework that could guide the creation of art music using Kenyan traditional music idioms; accomplished through the Marriage Suite. To safeguard contextual and music fidelity, member checking was consistently maintained during data collection and creative phase. Rhythmic and melodic accuracy of the transcribed songs was ascertained by play backs using FINALE music notation. Social identity in the composition was taken into account through use of Samia music characteristics that included intervals, solo-responsorial aspects, overlapping entries, parallelism and common rhythmic patterns. iii KEY TERMS Cross-cultural composition; Samia traditional composition; Creative work; Contemporary composition; Samia marriage composition; Samia marriage folk songs; Merger of Samia and Western music elements; Afro-Classic composition; Esidialo (marriage) composition; Hybrid composition. iv DECLARATION I declare that „Elements of Cross-Cultural Music Composition: The Creation of Esidialo-A Samia Marriage Suite’ is my own original work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. Gabriel Joseph Musungu Signature………………………………….Date………………………………. This thesis has been submitted for examination with our approval as university supervisors. Supervisor: Mr. George T. King Department of Art History, Visual Arts and Musicology University of South Africa- Pretoria Signature………………………………….Date………………………………. Co-Supervisor: Dr. Timothy K. Njoora Department of Music and Dance Kenyatta University- Nairobi Signature………………………………….Date……………………………….. v DEDICATION This work is dedicated to all my music students in Nangina and Alliance High Schools; and to all those that have played a big part in shaping my musical life. These include my music friends, choir masters, singers and heads of institutions where I served as a music teacher; above all my music lecturers. You made me what I am today, a member of the music scholarship in Kenya. vi ACKNOWLEDGEMENT It would not have been easy for me to write and bring this thesis to its present form without the cooperation and support of a number of people, to whom I express my sincere appreciation and gratitude. Prof. Emily A. Akuno of the University of KwaZulu-Natal and Prof. Charles O. Nyakiti; of Kenyatta University deserve a special recognition for raising my music scholarship through their assistance and encouragement during the inception of this work at proposal level. I thank Prof. Caleb Okumu, Dr. Beatrice Digolo, Dr. Henry Wanjala, and Dr. Joseph Muleka, Ms Wamboi Wamunyu who read through the initial work at proposal stage and final stages respectfully. Their advice improved the document a great deal. I‟m also very grateful to Mama Nafoyo (Ng’ina Jane) who listened to the collected folk songs, Mr. Sylvester Otieno (Otty Papa) who assisted in verifying the songs and shaping up the Samia Marriage Suite; and Mr. Fred Natabona (Hempstone) for his sponsorship. Mr. Cyril Bwire and Mr. Donaty Omera for verifying the information on Samia marriage traditions. Mr. Okoth Kidi (Wuod stone), Mr. Franklin Etyang‟ (Omwami), Mr. George Atsiaya (GA), and Mr. George Mwiruki (GG); for sharing with me their experiences/expertise in computer and music technology. I thank my family for encouragement and prayers while working on the Marriage Suite. Performers of the Marriage Suite songs; Ms Everlister Bedder and Ms Elizabeth Nekesa – Soprano, Ms Francisca Taka and Ms Jacinta Taka – Alto, Mr Abby Chokera – Tenor, Mr Isaiah Oyugi – Bass, Mr Mozart Onyango – Key board and Mr Raphael Ogama – Okungulo (string fiddle). I‟m very grateful for their support and participation in making the Samia Marriage Suite a reality. I‟m also indebted to the late Mr Silingi Asige for his assistance and to my friends who encouraged me up to the completion of the Marriage Suite. Lastly and very importantly my Supervisor Mr. George King, of the Department of Art History, Visual Arts and Musicology of the University of South Africa for accepting to work with the researcher on matters pertaining to a selected Kenyan community the Samia people. Co- Supervisor Dr. Timothy Njoora of the Department of Music and Dance, Kenyatta University for having accepted to join the team. As a composition scholar, Dr. Njoora was of great assistance to me in creating the Samia Marriage Suite. I thank the two Supervisors very much for their guidance and patience in the completion of this creative work. Above all, I graciously thank the Almighty God for his blessings and direction. vii TABLE OF CONTENT Abstract ................................................................................................................................................ ii Key Terms ........................................................................................................................................... iii Declaration .......................................................................................................................................... iv Dedication ............................................................................................................................................ v Acknowledgement ............................................................................................................................. vi Content .............................................................................................................................................. vii Definition of Terms............................................................................................................................ xii CHAPTER 1 ....................................................................................................................................... 1 1.0 INTRODUCTION ........................................................................................................................ 1 1.01 Background Information ................................................................................................. 1 1.02 Statement of the Problem ................................................................................................ 4 1.03 Objectives ....................................................................................................................... 5 1.04 Research Assumptions .................................................................................................... 6 1.05 Rationale and Significance of the Study ......................................................................... 6 1.06 Scope and Limitations..................................................................................................... 7 1.1 REVIEW OF RELATED LITERATURE .................................................................................... 8 1.1.1 Western Composition Process ........................................................................................... 9 1.1.1.1 Sources and Use of Material ..................................................................................... 9 1.1.1.2 Cross - Cultural Compositions: Elements of Orientation ....................................... 13 1.1.1.3 Contemporary Art Music ........................................................................................ 17 1.1.2 Traditional African Music Composition .......................................................................
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