SUPPLEMENTAL MATERIALSEach table/chart may be also used as handout or overhead

Identifying Music in East AfricaExercise 1.1

Genre Where performed Purpose/Function DescriptionTaarab Along Indian Ocean

coast and coastal islands--weddings--rites of passage--political issues

Mixture of Arab andIndian melodies withSwahili poetry

Choirs Churches and socialvenues

--worship--entertainment--political messages

Mixture of western styleharmonies andtraditional group singingtechniques

Dance bands Both small social clubsand larger halls

--entertainment--social gatherings--dance

Variety ranging fromCentral African Lingaladance, covers of westernpopular songs, earliervariants such as bengaor zilizopenda

Traditional Rural areas and inschools in both rural andurban areas

--mediating conflicts--solidifying communityand ethnicity--educating in traditionalsocieties--educating in terms ofsocietal histories

Traditional singing,dancing, drummingoften referred to asNGOMA

Identifying Music in East AfricaExercise 1.1

Genre Where performed Purpose/Function DescriptionTaarab

Choirs

Dance bands

Traditional

Defining Ngoma/MusicExercise 1.2

Speaker/Writer Role CommentsLawrence Chiteri Director of a ngoma

troupe in KenyaIn Kenya, the term ngoma could mean playing music that isdominated by drumming. On the other hand, around this side ofLake Victoria (gesturing toward Tanzania) they look at ngoma asanything that is danceable, any song that they could dance to, butwhose main instrument is the drum. Whatever you sing, whateveryou do where the instrumentation is dominated by drumming,that is ngoma. We use the term ngoma only to refer to music.Most people of Kenya talk of “I’m going to ngoma” and maybethey’re only going to put on a cassette recorder…to them ngomarefers to any music, something that is musical and can be dancedto. That is what we consider ngoma.

Ayisha Kyamugisha Dancer and trainer witha ngoma group inUganda

Ngoma means “music’ in some parts of Uganda. There is asimilar word in Luganda, abogoma, meaning people whoentertain other people. Abagoma refers to those people whoperform for their daily food. They call music ngoma in thewestern part of the country as well.

Peter Cooke Ethnomusicologistwriting in The NewGrove Dictionary ofMusic and Musicians(2000, xvii:855-56)

Ngmoma (is a) common term used generically for many kinds ofdrum among the numerous Bantu-speaking peoples of central,east-central, and southern Africa. However, “ngoma” often has awider meaning, at its widest standing for music and dance (andthe associated feasting), and for ceremonies in which drummingoccurs…Among different peoples ngoma can variously denote adance, a drum ensemble, the most important drum of anensemble, or individual drums. Use of the name is sometimesindicative that drums have special sacred or magical properties.

J.H.Kwebena Nketia African musicologist,theorist, and educatorwriting in The Music ofAfrica, 1974:21

In traditional African societies, music making is generallyorganized as a social event. Public performances, therefore, takeplace on social occasions—that is, occasions when members of agroup or a community come together for the enjoyment ofleisure, for recreational activities, or for the performance of a rite,ceremony, festival, or any kind of collective activity such asbuilding bridges, clearing paths, going on a search party, orputting out fires—activities that, in industrialized societies, mightbe assigned to specialized agencies.

Defining Ngoma/MusicExercise 1.2

Speaker/Writer Role CommentsLawrence Chiteri

Ayisha Kyamugisha

Peter Cooke

J.H.Kwebena Nketia

Exercise 1.3Speech Graph

Speech Graph

First Speaker:H ______________________________________________________________________

M ______________________________________________________________________

L ______________________________________________________________________

Second Speaker:H ______________________________________________________________________

M ______________________________________________________________________

L ______________________________________________________________________

Time :00 0:02 0:04 0:06 0:08 0:10 0:12 0;14 0:16 0:18 0:20

Exercise 1.4Create your own melody

1.4a Available pitches

1.4b Transcription of your own melody

Exercise 2.1Music at a Sukuma Work Site

Creates a desire to work,and to work together withothers, thus creating goodvalues in impressionableyouth

Calms its listeners andfocuses their mentalenergies and organizationalskills

Provides one with theability to work longer hourswithout being tired

Creates joy in the worker,casting off worries andsuffering

Contains important lifetestimonies and teachingand are enthusiastically andvividly received as such

Music at thework site…

Exercise 2.1Music at a Sukuma Work Site

Music at thework site…

Exercise 2.2Bugóbogóbo Listening Guide

TIME EVENT DESCRIPTION0:00 Initial section: call and response

0:05 Sticks on sides of drums, clapping

0:38 Drum cue

1:00 Whistle cue

1:18 Repeated whistle cues

1:25 Repeated whistle cues

1:34 Fade out

1:36 Music returns—faster tempo?

1:56 More intense, energetic drumming

2:07 Multiple whistle cues

3:00 fade out begins

Exercise 2.3

Drum Cue in Bugóbogóbo Ngoma

pulse 8 1 2 3 4 5 6 7 8Drum 1 · · · ·Drum 2 · ·

Exercise 2.4Terminology for Discussion of “Muliranwi”

Term/Instrument Definition/MeaningEmbaire Large 21-25 keyed xylophone

Ngoma Drum (as used in this section of text)

Endingidi Bowed tube fiddle

Omulesi owolwembe Lead singer

Abanukuzi Chorus

Obwetegeka Rhythmic cue: dancers begin

Dbuti Clapping with sticks

Obwara Repetitive, rhythmic clapping pattern

Mulindimuko Rhythmic cue: dancing and tempo should become moreintense

Okuwoya Rhythmic cue: Signal that entering intense ending sectionof performance

Okumala olwemba Distinctive melodic gesture identifying the performinggroup and usually signaling closure in a performance

Exercise 2.4Terminology for Discussion of “Muliranwi”

Term/Instrument Definition/MeaningEmbaire

Ngoma

Endingidi

Omulesi owolwembe

Abanukuzi

Obwetegeka

Dbuti

Obwara

Mulindimuko

Okuwoya

Okumala olwemba

Exercise 2.5“Muliranwa” Listening Guide

Timing Event Description0:00 Embaire begins

0:10 Metal beater enters

0:14 Gourd shaker enters

0:25 First entry of call

0:31 First entry of response

3:33 Kwetegeta rhythmic cue

Dbuti—Clapping with sticks

Obwara—repetitive clapping

4:47 Mulindimuko rhythmic signal

5:01 Okuwoya rhythmic cue

5:16 Okumala olwemba “signature”melodic pattern

Exercise 2.6Listening Guide for Chakacha

Timing Event Description0:00 drumming Drumming appears to be random before settling into core pattern

0:04 First solo

0:08 First response

0:10 Core drum pattern Core pattern clearly identifiable

0:55 WaSwahili drumpattern

2:30 Drum difficulties

2:40 New drummer

3:32 Shouting in English

4:50 End of performance

Exercise 3.1aDefining Terms

Term Meaning/ExplanantionBulabo

Bufumu

Bagaalu

Bagiika

Wigaashe

Wilingi

Samba

Exercise 3.1bDefining Terms

Term Meaning/ExplanantionBulabo Feast of Corpus Christi in Sukumaland in which

traditional and western cultural practices are combined ina community event

Bufumu Manipulation of divinatory forces

Bagaalu A traditional dance society of the Sukuma people(Tanzania)

Bagiika A traditional dance society of the Sukuma people(Tanzania)

Wigaashe A competitive “sitting song” of the Sukuma people(Tanzania)

Wilingi A kind of singing that seeks to scandalize one’s opponent

Samba Strong charms meant to protect the performers and attractthe appreciation of the crowd

Handout 3.1Making a Rattle Stick

Bottle caps or jingles nailed tobroom or mop handle

Place rubber “crutch tip” on endto avoid damage to floor

Use mop or broom handle three tofour feet in length

Exercise 3.2Analyzing Three Song Performances

“Mahali ni Pazuri” “Wimbo wa KiHehe” “Sikieni Neno”Language

Accompaniment

Form

Western Stylistic Traits

Traditional AfricanStylistic Traits

Exercise 4.1a

Exercise 4.1b

Traditional musicmaking in village of

Kibaale-Busiki,Uganda, is used for:

Traditional musicmaking in village of

Kibaale-Busiki,Uganda, is used for:

Labor

Funeral rites Communication

Timekeeping

DidacticResponse

EducationalPurposes

Entertainment

Therapeauticresponse

Exercise 4.2

Nyimbo Songs (plural)

Wimbo Song (singular)

Mwalimu wa kwaya “teacher” or “conductor” of a choir

Walimu wa kwaya Plural of “Mwalimi”

Mbunifu “designer of music” (arranger)

Msanifu “composer” of music

Nyimbo za kwaya Choral songs

Exercise 4.2

Nyimbo

Wimbo

Mwalimu wa kwaya

Walimu wa kwaya

Mbunifu

Msanifu

Nyimbo za kwaya

Exercise 4.3

Responsibilities of aTanzanian mwalimu

Compose songsfor the choir

Teach thesongs to thechoir Conduct the choir

during Sundayservices and other

eventsPreserve the

repertoire of thechoir in his or her

memory

Exercise 4.3

Responsibilities of aTanzanian mwalimu

Exercise 4.4SIKILIZA, ASEMA BWANA

Timing KiSwahili Lyrics English Meaning0:02 “Sikiliza,” asema Bwana, watulizeni wenye

uchungu“Listen,” says the Lord, comfortthose people with difficulties

0:12 Piga kelele utangazo kwa Yerusalem,kwamba vita vimekwisha

Shout and proclaim this to Jerusalem,that the battle is over

0:22 Nimesika “watulize watu wangu watulie” I have heard, “tell my people theyshould calm down”

0:28 Wamenilia basi wasilie watulie They have cried to me. Now theyshould no longer cry

0:35 “Sikiliza,” asema Bwana, watulizeni wenyeuchungu

“Listen,” says the Lord, comfortthose people with difficulties

0:44 Watulize mioyotaifa langu, tuwanyamazishe My nation should be at ease, let usmake quiet

0:48 Ombolezo na kiliyo visisikike tena Moaning and wailing should nolonger be heard

0:57 Uovi nimefuta sitau kumbuka tena I have forgiven the evils, I will notremember again

1:03 Mapigo wamepata yawatoshawatu wangu The plagues that they haveexperienced are enough

1:08 Nitawatizimizia agano langu la kale And now I shall fulfill my ancientcovenant

1:12 Ataashuka kwambozi awaponye watuwangu

The Savior will descend to warn mypeople

1:18 Umefika ulemwaka wenye neema tele The year has come that is full ofgrace

1:24 Yawajia Yerusalemu na ulimwengu wote Which comes to Jerusalem and to thewhole world

1:29 Tutauona wokovu wetu, Bwanaumewaridhia watu

We shall see our salvation, which theLord has given

1:41 Mwakozi yuaja watulizena miyo wotewaliogizani

The Savior is coming, to tell thepeople to be at ease

1:45 Nuru itawazukia wote And the light will come over them1:50 Tetema na kujifika tetema shetani atetema Tremble and hide, tremble, the devil

is trembling1:54 Tetema na kujifika tetema duniani

ishangilieTremble and hide, tremble, the worldshould rejoice

1:58 Tetema na kujifika tetema yuaja mwenyenguvu

Tremble and hide, tremble, thepowerful one is coming

2:02 Tetema na kujifika tetema Mwana wakeMungu-hoyo

Tremble and hide, tremble, that is theSon of God

2:06 Tetema na kujifika tetema samba wasuombozi

Tremble and hide, tremble, the lionof salvation

Exercise 4.5Making a PVC Endere

Approximate pitches:

All covered: B-flat

Lowest uncovered = C

Lowest two uncovered = E-flat

Lowest three uncovered = F

All uncovered = G

THIN WALLED PVC appx 2 cm or 0.75” diameter

TOTAL LENGTH = appx.34 mm or 13.25 “

TONE HOLES = appx 1 cm or 3/8” diameter

PLACEMENT OF TONE HOLES (from bottom oftube—measurement is to center of hole)

4.5 cm or 1.75 “

8.5 cm or 3.37”

12.5 cm or 4.75”

16.5 cm or 6.5”

NOTCH FOR TONE PRODUCTION: appx. 1 cmacross and 1 cm deep (3/8”)

Exercise 5.1“Oluyimba Lwe’eggwanga”

Exercise 5.2“Pride of Uganda”

VERSE

.Verse:

Okuva edda n’edda lyonna Since time immemorial, years agoLino eggwanga Buganda This tribe of BugandaAnti lyamanyibwa nnyo Eggwanga lyaffe It became famous this tribe of oursOkwetooloola Ensi Yonna So, let us love our tribe

Chorus:

Twesiimye nnyo, Twesiime nnyo We are proud. We are proud.Olwa Buganda yaffe Because of our Buganda

Ekitiibwa kya Buganda kyava dda Great Buganda started long ago and will always be great

Exercise 5.3

Exercise 5.4Nyatiti Traits in Benga Music

Exercise 5.4aNyatiti Traits in Benga

Music

Improvisatory vocal style—CD Track 31

Nyatiti praise singing did not fade once benga became popular

Nyatiti Benga

Interdependence of bassand treble lines (lower andhigher lines) in Apondi’snyatiti playing—CD Track31

Playful and omnipresentbass and lead guitars inbenga—CD Track 32

Rhythm patterns of garaleg rattles and iron toering—CD Track 31

Benga drum patterns—CDTrack 32

Improvisatory vocal style—CD Track 31

Improvisatory vocal style—CD Track 31

Nyatiti praise singing did not fade once benga became popular

Nyatiti Benga

Exercise 6.1a“Kumbaya” guitar acc. Lead sheet

Exercise 6.1b“Kumbaya”

“Kumbaya” version one—three part

Exercise 6.1c“Kumbaya”

Kumbaya, Version 2

Exercise 6.2Kumbaya Comparison Chart

Element Kumbaya as performed in class CD Track 33Tempo Slow fast

Mood somber joyous

Language English and ? English, Luo, KiSwahili dialects

Accompaniment a cappella or guitar or keyboard Drums, body percussion (?)

Setting

Exercise 6.2Kumbaya Comparison Chart

Element Kumbaya as performed in class CD Track 33Tempo

Mood

Language

Accompaniment

Setting

TraditionalMusic

Performances…

Exercise 6.3

TraditionalMusic

Performances…

Communicate within andcontribute to the formationof both culture andcommunity

Communicate many of themost important roles andfunctions of local and regionalcustoms by assertingindigenous ideas of voluntaryassociations and communitysupport groups

Communicate at local,national, and global levels notonly what it means to be amember of a particularcommunity, but also what itmeans to be Kenyan,Tanzanian, Buganda, as well aswhat is it to be African.

Bring individuals together andhold them together, unitingthem by communicating andaffirming community heldmorals and values

Exercise 6.3