The most important aspects of Nzomo’s song ,that provides a strong backbone to the social organization, is the training and Demographic stereotypes that are shown through the simple layering, repetitive phrasing, text and chordal harmonic character.
In North America we are encouraged to enroll our children into these wonderful programs where they are taught to read music and play a multitude of instruments. Because of the abundancy of musical programs in this country, people who call themselves ‘musicians’ are presumed to have taken lessons from an instructor and know the basics of musical notation. In Kenya, this is not the case for musicians and those who perform. Most who are considered ‘masters’ in their instrument/s have taken sporadic lessons from a multitude of teachers or (in most cases) have taught themselves the art form. Lack of musical instruction school has created a society that is reliant on ear-training and perfect rhythm, since most have to teach themselves. Of course, I am not implying that people without training are less talented or need ‘simple beats in order to properly understand the songs. This follows through in Nzomo’s song “Uhuru Kewli Ni Kujtegemea” by David Nzomo that I found off of the Smithsonian Global Sounds Website. The training (or lack there off) creates a social tie to the rest of the people in Kenya. Nzomo had basically taught himself his instrument, and one can hear this through his simplistic linear structure of the song. Since most of the people in Kenya have not had any training the use of repetitive phrasing and a simple rhythm makes it easy for people to memorize this song and be able to perform it. The distinct layering also makes it easy for people to listen and hear how to play each particular one. For example, if someone wanted to learn how to play the guitar part, they would listen closely and because of the repetition, be able to pick it out of the song very easily.
In regards to demographics, there is most certainly a stereotype that the song is geared toward: geographic area. Those who are not from Kenya (or not familiar with the government) are not going to understand the true context of this song. You can hear this through musical traits throughout this piece. The timbres are those that are familiar with the Kenyan culture like the percussion instruments. The harmonic character is like many of the pieces we have analyzed from africa, with a chordal polyphony melody line. Also, the articulation and text is in a language that is familiar to those who are living in Kenya.
Social organization is very important in African culture, and it is shown through the use of musical traits in Nzomo’s song. The training and demographic aspect of social organization really emphasizes the importance use of musical traits in this tune. The correlation between the two highlights the ying-yang between traits and social organization.
BIBLIOGRAPHY
Nyairo, Joyce. “kenyan gospel soundtracks: crossing boundaries, mapping audiences.” Journal of African Cultural Studies 20.1 (2008): 71-83. Academic One File. 30 Sep 2009.
Opondo, Patricia. “Cultural Policies in Kenya.” Symposium: Arts Education Policy in Africa. 1.1 (200): 18-24.
