Orally training, sex demographics and subsidiary roles in regards to the listeners are three of the most important social components of the piece “Mwi Bishiru”, which is displayed by call and response and the linear structure of this piece.
This piece is a traditional piece, specifically coming from a tribe in Kenya known as the Bomas people. There is no writing of musical notation in this tribe and all of the training is passed down as an oral tradition. The use of this oral training is found in this song is displayed through the heavy use of call and response. By working call and response into this song, it makes it easier for people to join into the song using repetitive phrasing. The repetitive phrasing that the response people have to use creates an easier path for these people to learn the melodic line at the same time. One can see the correlation between call and response to the social organization aspect of oral training.
In regards to demographics, there seemed to be a stereotype of men in this piece. This song is about a man whose wife just left him, thus it is geared particularly toward men. This can also be heard in the musical trait: call and response. The man voice is always the one that is calling out, and the woman is always responding, never to be the lead vocal. Although this may not be sexist in the context of this tune, it does display a demeaning tone toward the womanly figure.
Most of the people who listen to these songs, on a CD, are people who are well educated in the subjects African music and want to analyze traditional music. This puts pressure on these people to put songs on the CD’s that are interesting and understandable (in a musical sense) to the listener. This song is very structured, not what one would expect from a normal tribal piece. The liniar structure of this song shows the influence of the listeners/producers on the musical sound. Also, there is less improvization on this piece, hinting at the lack of creativity that was allowed to be used in this piece in the studio. Listeners always effect the outcome of the music, for the good or bad. Without the listeners, no money could be made out of any type of musical performance career. Therefore, the opinion of those who are listening is the one that the producers care most about.
The correlation between social organization and musical traits is displayed abundantly through the use of call and response and the (non-improv) linear structure. One can hear the stark realities of social connections between Kenyan tribal people in these songs. These beautiful pieces of art really serve a greater purpose for their culture and society as a whole.
BIBLOGRAPHY
Ntarangwi, Mwenda . Gender, Idenity, and Performance. Trenton, New Jersey: Africa World Press, Inc, 2003.
Umbima, William . “Republic of Kenya.” Dictionary of Music and Musicians. Second ed. Volume 13. New York: Macmillian Publishers Limited, 2001.
