Chapter 4 Individuals in East African Musical Worlds Gideon Mdegella and Centurio Balikoowa

Chapter 4 Individuals in East African Musical Worlds Gideon Mdegella and Centurio Balikoowa (1) Preserving Tradition Within Contemporary East African Settings (pp 59-63) Although traditional village music is encouraged in schools, competitions, and festivals, some leaders in Ugandan music believe that traditional village music making is disappearing quickly because so little has been preserved in recordings. The national education system within Uganda demands that teachers be multimusical and teach multimusicality. Similarly, Gideon Mdegella of Tanzania also strives to create music that communicates something of the way people feel when they do things in their own way and draws upon the multiple musical languages of his country. Read the information on pages 59-63 and use the following questions to facilitate class understanding of the place of traditional music in contemporary East Africa. 1. What are some of the demands facing musicians in contemporary East Africa? 2. As stated above, traditional village music is encouraged in a number of settings. Identify these and discuss how this encouragement may or may not be effective in preserving traditional musics. Are there similar encouragements in the United States to preserve traditional musics? 3. In village music performances, there is little, if any, separation between performer and audience. Cite examples from the text illustrating this lack of division. Are there performance venues within Western music ( classic or popular ) in which there is a similar lack of division? 4. How is traditional music transmitted in East Africa? Discuss the meaning of Balikoowa s statement: Our books are the old people. 5. Traditional music making continues to serve important ritual and routine purposes throughout East Africa. Use the chart in Exercise 4.1 to serve as a roadmap for discussion of these roles and functions. Funeral rites Communication Labor Didactic Response Traditional music making in village of Kibaale-Busiki, Uganda, is used for: Timekeeping Therapeutic response Educational Purposes Entertainment

(2) Learning About Gideon Mdegella (pp. 64-75) Gideon Mdegella is a ritual-musical specialist in the Tanzanian Lutheran Church, a wellknown composer of choral music, and an advocate for the preservation of traditional musics in Tanzania. A self-taught performer and composer, he is proficient in oral/aural realms of African musical discourse as well as Western musical transcriptional and notational styles. Read the information on pages 64-75 and complete Activity 4.1 (page 74), then use the following questions to facilitate class discussion about Mdegella, choral music in Tanzania, and the various roles played by a music specialist in this culture. Creating and Teaching Choral Music 1. Briefly define the following terms used in pages 64-75: nyimbo, wimbo, Mwalimu wa kwaya, Walimu wa kwaya, Mbunifu, Msanifu, nyimbo za kwaya. (Complete Chart in Exercise 4.2) 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 2. What are the differences between a mbunifu ( arranger ) and msanifu ( composer ) in Tanzanian choral traditions? Can one person serve as both? 3. What are the responsibilities of a Tanzanian mwalimu? (Complete chart in Exercise 4.3) How are these the same or different from the responsibilities for a Western choral director?

Exercise 4.3 Responsibilities of a Tanzanian mwalimu Compose songs for the choir Teach the songs to the choir Conduct the choir during Sunday services and other events Preserve the repertoire of the choir in his or her memory 4. Why does Mdegella feel there is a need for a constant, ongoing flow of new material? 5. Mdegella composes in multiple musical languages. List several of these and discuss what may be some challenges a composer might encounter when composes in multiple styles. 6. Mdegella lists many sources of inspiration for his compositions as well as how his melodies come to him. Identify several of these and compare to how creators of musical from other cultures believe they receive their inspiration. (Examples: Bach credited God for the music, Native Americans believe that music already exists and musicians catch the melody etc.) 7. What does Mdegella identify as his primary goal as a composer? (3) Performance Opportunities: CD Track 13 S, C/U Music is East Africa is learned through an aural process requiring focused, attentive listening as each phrase and part is carefully taught to the chorus. Learn to perform a melodic line for at least the first eight lines of Sikiliza, Asema Bwana through this process. 1. Listen to CD Track 13 noting timing of each line of the KiSwahili lyrics (given on pp. 72-73 in text on in Listening Guide Exercise 4.4 in the Supplemental Materials). NOTE: Timing may vary from those given in Exercise 4.4 due to overlapping of phrases in performance and to differences in playback equipment. 2. Listen to the first four lines of Sikiliza, Asema Bwana noting melodic line hum or sing on a neutral syllable as you re-listen to this excerpt. 3. When class is familiar with melodic line, listen to first four lines of Sikiliza, Asema Bwana again, this time focusing upon pronunciation of the KiSwahili lyrics. 4. Sing with CD Track 13 as necessary to master melodic line and lyrics of first four lines of text.

5. Repeat this process as needed to master performance of melodic lines. Class and instructor may elect how much of the song to learn and whether to attempt supporting parts. 6. Note 1: If difficulty is encountered learning four lines, class may reduce number of lines of text for each segment of this exercise. 7. Note 2: Mary Goetze (University of Indiana) has published several volumes of a multimedia instruction kit which teaches ethnic musics in the style of the culture from which the music is taken. An example of African choral singing and the learning process from the culture is Global Voices in Song: Four Swazi Songs (Goetze@indiana.edu). Exercise 4.4 SIKILIZA, ASEMA BWANA Timing KiSwahili Lyrics English Meaning 0:02 Sikiliza, asema Bwana, watulizeni wenye uchungu Listen, says the Lord, comfort those 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 they should calm down 0:28 Wamenilia basi wasilie watulie They have cried to me. Now they should no longer cry 0:35 Sikiliza, asema Bwana, watulizeni wenye uchungu Listen, says the Lord, comfort those people with difficulties 0:44 Watulize mioyotaifa langu, tuwanyamazishe My nation should be at ease, let us make quiet 0:48 Ombolezo na kiliyo visisikike tena Moaning and wailing should no longer be heard 0:57 Uovi nimefuta sitau kumbuka tena I have forgiven the evils, I will not remember again 1:03 Mapigo wamepata yawatoshawatu wangu The plagues that they have experienced are enough 1:08 Nitawatizimizia agano langu la kale And now I shall fulfill my ancient covenant 1:12 Ataashuka kwambozi awaponye watu wangu The Savior will descend to warn my people 1:18 Umefika ulemwaka wenye neema tele The year has come that is full of grace 1:24 Yawajia Yerusalemu na ulimwengu wote Which comes to Jerusalem and to the whole world 1:29 Tutauona wokovu wetu, Bwana umewaridhia watu We shall see our salvation, which the Lord has given 1:41 Mwakozi yuaja watulizena miyo wote waliogizani The Savior is coming, to tell the people to be at ease 1:45 Nuru itawazukia wote And the light will come over them 1:50 Tetema na kujifika tetema shetani atetema Tremble and hide, tremble, the devil is trembling 1:54 Tetema na kujifika tetema duniani ishangilie Tremble and hide, tremble, the world should rejoice 1:58 Tetema na kujifika tetema yuaja mwenye nguvu Tremble and hide, tremble, the powerful one is coming 2:02 Tetema na kujifika tetema Mwana wake Munguhoyo Tremble and hide, tremble, that is the Son of God 2:06 Tetema na kujifika tetema samba was uombozi Tremble and hide, tremble, the lion of salvation

(4) Getting to Know Centurio Balikoowa (pp. 75-78 and 86-88) Centurio Balikoowa, a virtuoso performer on many Ugandan instruments, is one of the last students of the great performer and teacher of traditional Ugandan music, Evaristo Muyinda. Deeply rooted in the rural village-based musical traditions as well as contemporary urban life, Balikoowa has assumed Muyinda s role as a portal of information about traditional Ugandan culture. Read the information on pages 75-78 and 86-88 and complete Activity 4.2 (page 86), then use the following questions to facilitate class discussion about Balikoowa and Ugandan musical life 1. Ugandan music is typically passed along through imitation and repetition, often as children grow up surrounded by musical activities. Briefly describe how Balikoowa s early life and musical education provides an example of this process. 2. Balikoowa s prowess as a performer on many traditional instruments as a young person and as a teacher for his peers led to scholarships for further study resulting in his present role as a music teacher and performer. Are students familiar with similar stories of prodigies in other musical cultures? 3. Balikoowa identifies many different musical traditions existing in Uganda. What are some of the differences distinguishing between these traditions? 4. Despite the multiplicity of musics in Uganda, Balikoowa maintains that there is something that can be called traditional Ugandan music. What similarities in the various ethnic musics does he cite as justification for this belief?

(5) Experiences with Ugandan Musical Instruments (pp 78-85) Endere Endere-Flute: PVC Endere matching dimensions in Exercise 4.5. Tissue Has been inserted to show finger holes. (Photograph by Bryan Burton) Questions for discussion: CD Track 14-16 1. How many types of endere are typically found in Uganda? With which ethnic group is each identified? 2. What was one of the earliest uses for the endere? 3. Why is the endere usually made to match pitch of embaire (Xylophone)? 4. Listen to CD Track 14 to hear tuning of endere. 5. Compare performances on CD Track 15 and 16. Discuss tempo difference based on language patterns of ethnic groups in Uganda. Performance Opportunities: (2-3) S, C/U (1 & 4) 1. Advanced students may identify the pitches for this instrument as approximately: 2. Younger students may practice playing this pattern by playing a pentatonic sequence of D, F, G, A, C. 3. Younger students may elect to improvise short solos using this tuning. 4. After listening to CD Track 15, advanced students may wish to improvise solos using this tuning or substituting an instrument appropriate transposition matching the playing and melodic style as closely as possible. Making an Endere: S, C/U

1. Obtain a 14-18 section of thin walled PVC pipe and make an endere following instructions contained in Exercise 4.5 in the Supplemental Materials. 2. Students may elect to improvise solos on this instrument matching playing and melodic style heard on CD Tracks 15 and 16. Endingidi Endingidi --One-string tube fiddle. (Photograph by Gregory Barz) Questions for discussion: (pp 81-84) 1. Describe the playing position of the endingidi. Compare this to western classical violin. 2. Describe how an endingidi is constructed. Why is it made of detachable parts? Approximately how long does the process take to complete? [NOTE: Advanced students may wish to compare the construction process for the endingidi with that of the singlestring Apache violin as described on pages 40-46 of When the Earth was Like New (Burton, Wilson, and Wilson. World Music Press. 1994) as well as compare performance practices.] 3. Explain the function of parts (Lutama, Katamba, Kitamba) in a three instrument endingidi ensemble? Listening opportunities (CD Tracks 17-19) (1) S, C/U (2-1. Listen to demonstration of pentatonic scale pattern for endingidi on CD Track 17. Advanced students may identify the pitches as approximately C-D-F-G-A. CD Tracks 18 and 19, however, appear to use the following pitches: 2. Listen to both CD Track 18 and CD Track 19 to observe melodic patterns played by endingidi. Describe these patterns. 3. On CD Track 19, Balikoowa plays a few sections of a pentatonic ostinato pattern then demonstrates how the pattern might be varied in performance. He then explains the

purpose of the technique. Invite students to compare this practice to western performances. Performance Opportunities: S,C/U 1. String players in class may transpose the pentatonic pattern given above to A-B-D-E-F# and play the pentatonic on the A string of their instrument to determine fingerings and shifts in position required to play a melody on a single string. 2. Attempt to match the tone quality of the endingidi by keeping bow close to the bridge of the instrument and using short strokes (or by use of sul ponticello marking) 3. Listen to CD Track 19. As the two endingidi players play an ostinato using the tuning pattern above, the first few notes of the vocal line outline a B-C#-E-G#-F# motif. Advanced string players may wish to listen to CD Track 18 several times to identify melodic patterns played by endingidi, learn examples aurally, then demonstrate patterns for class. Select one basic ostinato and perform while class listens to CD Track 18. 4. In CD Track 19, the opening pattern is based on the following pitch and rhythm pattern: 5. Advanced string students may learn this basic pattern then add multiple bowings on each pitch to match performance on CD Track 19. Play this basic pattern as an accompaniment to the remainder of Track 19. 6. Advanced string players may then elect to add variations on the rhythm and pitch patterns modeled upon those on CD Track 19 and demonstrate these for class.

Ntongooli Ntongooli--Bowl Lyre (Photograph by Gregory Barz) Questions for Discussion (pp 84-85) 1. Why is the ntongooli referred to as a bowl lyre? 2. Identify several virtuoso players of the ntongooli? 3. On CD Track 20, Balikoowa uses mnemonic syllables to identify pitches. (a) In which language is he speaking? (b) What are the syllables and their English language meanings?(c) Invite students to demonstrate similar mnemonic devices used in western notation to identify pitch names on treble and/or bass clefs. Discuss the value of such teaching tools. Listening and Performance Opportunities: (CD Track 20-21) 1. Listen to CD Track 20 identifying mnemonic syllables for pitches on ntongooli. On a second listening, sing these syllables along with Balikoowa. 2. Advanced students may wish to retune a guitar or other plucked string instrument to the pitches given above and perform while remainder of class sings during subsequent listenings to CD Track 20. 3. Listen to CD Track 21 noting that solo ntongooli alternates with singing while ntongooli accompanies the vocalist. Create a listening chart identifying these sections by timing, then listen again making notes to use in writing a description of each section for the listening guide.