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Music- Notes

Education (Mount Kenya University)

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By Stephen Maingi

The Blackboard

MUSIC SUMMARY NOTES

INTRODUCTION TO MUSIC THEORY

OBJECTIVES IN UNIT ONE (MUSIC THEORY)

At the end of this unit you should be able to:

- Identify and use the treble and the bass clefs;

- Name notes in the treble and bass clefs ( notes in leger lines
included);
- Identify and use semibreve, minim, crotchet, quaver notes and
also equivalent rests;
- Name keys on the piano keyboard ( sharps and flats)
- Construct the first five major scales ( C, G, D ,A and E) as keys
with sharps and first five major scales with flats( F, Bb, Eb, Ab and
Db);
- Construct their relative minor scales in both melodic and
harmonic;
- Identify intervals;
- Construct triads in both major and minor scales and identify their
inversions;
- Read and recognize simple duple , simple triple and simple
quadruple time;
- Describe forms of music

SECTION TWO – GENERAL MUSIC AND METHODOLOGY

OBJECTIVES

At the end of this unit you should be able to:

-define Creative Arts

-list down factors that affect the development of Creative Arts

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-describe the academic documents for a teacher;

- prepare scheme of work and lesson plan.

-list down classes of Kenyan musical instruments;

-define musical terms;

- write music;

-sight read music.

INTRODUCTION

What is music?

Music is the art of combining sounds for reproduction by voice or by

musical instruments in rhythmical, melodic or in harmonic form so as
to affect the emotions.

COMPONENTS OF MUSIC

(1) Sound
This includes: a) pitch, (b) volume and (c) tone quality.
(2) Rhythm
-Pitch is the highness or lowness of sound (depth)
-Volume is loudness or softness
- Tone quality is the taste the music has to the listeners’ ear.
This tone quality is called timbre.
STAFF NOTATION
 This is the art of writing music sound on lines and spaces.
 A staff or stave is made up of five parallel lines and four spaces.

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 To give meaning to the stave a sign called a clef is used.
Two main types of clefs:
1) Treble clef ( usually called the G clef)
2) Bass clef ( usually called F clef)

Treble Clef
 This clef is used to indicate the music for female voice ,
example, Soprano and Alto
 Young boys with unbroken voices could be placed for music
on the treble clef.
 The G clef establishes the G [Link] line is the second line,
counting from the bottom of the stave.

Line G

MUSIC ALPHABET

 We normally use the first seven letters of the alphabet to name

letters or notes in music. That is A, B, C, D, E, F and G.
 Lines and Spaces represent various pitches in the staff.
 Altogether the first seven letters of the alphabet A B C D E F G are
used to identify the lines and spaces. As soon as we come to G we
start all over again from A. It should be noted by the time the sound
starting from, says G then ending on G we have eight different
sounds or an Otave.

D E F G A B C D E F G

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NOTES ON THE LINES ON G CLEF STAVE

E G B D F

 To remember the notes on the lines using G

clef staff we use Every Good Boy Deserves
Favor.

NOTES IN SPACES USING G CLEF STAFF

F A C E

 The notes in the spaces spell the word FACE when using G clef.
 The pitch gets higher as we move up the stave.

BASS CLEF
 This clef is used to indicate the music for male voices such
as tenor, baritone and bass.
 The bass clef is also referred to as the F clef.
 This is so because the clef establishes the fourth line,
counting from the bottom of the stave, as F.

F line

 The two dots on either sides of the fourth line are necessary and
should not be left out.

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 The completed naming of the bass clef stave is as follows:

F G A B C D E F G A B

NOTES ON LINES USING F CLEF STAVE

G B D F A

 To remember notes on the lines using F clef we use:

Good Boys Deserves Favor Always

NOTES IN THE SPACES USING BASS CLEF

A C E G

 To remember the notes in the spaces using bass clef staff we use;

All Cows Eat Grass

GREAT STAVE OR CLOSED SCORE ALSO CALLED GRAND STAFF

D E F G A B C D E F G

F G A B C D E F G A B Middle
C

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 This is drawn when the two staves are combined
 Naming of the lines and spaces remains the same as we had
earlier.
 In the great stave there is an additional broken line which lies
between the treble stave and the bass stave. This line represents
the note we call Middle C.
NB Middle C is defined as the note that is found at the middle of
piano keyboard.

TIME

The pulse or beat

Everyone is aware of the varied rhythmic patterns they hear in music, and
most people can reproduce them if they know them well enough. But not
everyone is consciously aware that there is an underlying pulse which can be
felt as a steady beat of constant length throughout a section of music at the
same time as the rhythmic pattern.

Rhythm

- Rhythm in music refers to the arrangement of long and short notes and of
strong and weak beats. Music is never static, but moves in time. Music
always has a rhythm.

- Pulse suggests something that is regular and music does not always have a
regular beat. Some music may be compared with literary prose, where
rhythm is not organized into pattern of beats.

- Music pulses are also known as throbs.

- The beats fall into regular groups of notes because some are accented and
others are not.

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- The sign ( ) is called an accent. It is used for accenting notes or putting
more stress on notes even though the length of the beat may be
constant.

The rhythm of music based upon a text, approximating the rhythm of the
words as they would be spoken.

In other types of music, the rhythm are measured, or metered, as they are in
poetry. Thus, in music, as in literature, meter organizes rhythm.

In writing music the strongest of the accent is normally shown by putting

line vertically across the staff in front of the accented notes. This is
also known as metered music which is notated in units called
measures. The vertical lines across the staff are called bar lines. Bar
lines divide music into measures called bars.

The end of a piece of music is marked by two vertical lines called double bar
lines.

The regular grouping of beats by bar lines into bars is called time of music
.The kind of time, depends on the accents occur in twos (duple), threes
(Triple) or fours (quadruple) etc.

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Irregular meters such as those containing five or seven beats per measure –
are used and composers may change meter frequently during a piece
or even during a section of a composition. They may also combine two
or more meters at the same time. A piece may begin on the first, or on
or between any other beats of a measure.

The kind of time is indicated by the time signature written in two figures in
form of numerator and denominator. This is usually at the beginning of
a piece of music after the clef and the key signature.

The top figure of the time signature indicates how many beats are expected
in each bar and the bottom one indicates the value of each beat in

relation to a semibreve. For example,

means three crotchet beats in a bar since a crotchet is ¼ of the semibreve.

NB no stroke between the figures. It must be omitted, example ¾
wrong correct.

There are two types of time signatures

(a) Simple time signature

(b) Compound time signature

SIMPLE TIME SIGNATURES

(a) Simple time signature is that those main beats are divisible by two. In
simple time if the beats fall into regular groups of twos, it is called
simple duple time and two is written as the top number of the time
signature.
(b) If the beats fall into regular groups of three, it is called simple triple
time and is written with figure three as the top number of the time
signature.
(c) If the beats fall into regular groups of fours, it is called quadruple time
and is written with four as the top number of the time signature.

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SIMPLE DUPLE TIME

- In this simple time there are two beats in the bar. The first beat is
stressed (accented) while the second beat is lighter.
- Since rhythm is not concerned with pitch a rhythmic pattern can be
written without the staff. For example.

AllaBreve

- Sometimes the sign C is printed in the space for the time signature. This symbol denotes the
time signature

Example:

Simple time with a crotchet beat

Other duple times are:

(a)

(b)

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A SONG IN

I HAVE DECIDED TO FOLLOW JESUS

C F C C7 F D0 C

(1) I have decided to follow Jesus, I have decided to follow Jesus, I have decided to follow Jesus

G7 Am D 7 G C

No turning back no turning back.

(2) Though no one join me still I will follow,Though no one join me still I will follow

Though no one join me still I will follow,No turning back no turning back.

(3) The world behind me the cross before me, The world behind me the cross before me,
the world behind me the cross before me,No turning back no turning back.

THIS IS THE DAY

Key = F

d. d: -. r |m:-d. d: -. r |m: m. f|m: r | r:- |m. f|m: r | r:- | t, . t, :-. d|r

This is the day,this is the day that the Lord has made,that the Lord has made, we will rejoice
r. m| r: d| d : r . m| r : d |d:-
and be gland in it,and be gland in it.
| l. l:-. l| l : l . l | s : m.r | d:- | l. l:-. l| l : l . l | s : m.r | d:-
This is theday that the Lord has made, we will rejoiceand be gland in it
d. d: -. r |m:- d. d: -. r |m: m. f |m:- | r:- | d: -
This is the day,this is the day that the Lord has made.

SIMPLE TRIPLE TIME

- Beats fall in regular groups of threes.
- This is written with a figure three three as the top of the time signature.
- Example

taataataataa- aataa ta-tetaa ta te-fetaa-aa- aa

The song Music Alone shall live is in this time.

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Clapping exercise

1 2 3 1 2 and 3 1-2 3 1 2 and 3 1-2-3

SIMPLE QUADRUPLE TIME

-It is written with four as the top number of the time signature. This is because beats fall in to
regular groups of fours.
-Simple quadruple include

taa –aataa-aataataataa-aataa ta-tetaa ta-tetaa-aa-aa-aa

COMPOUND TIME SIGNATURE

- This is the kind of time signature whose main beat is divisible by three.
- The main beat is therefore dotted.
- The simple time signature is converted into compound time signature when the top
signature is multiplied by 3 and the bottom one by 2.
- If such a calculation is done from simple duple, the result time will be known as the
compound duple time.
- If it was done from a simple triple time, the result time will be known as
compoundtriple time.
- If it was done from a simple quadruple time, the result will be known as the
compound quadruple time.

SIMPLE DUPLE TIME COMPOUD DUPLE TIME

2 = 2*3 6
2 2*2 4
2 2*3 6
4= 4*2 8
2= 2*3 6
8 8*2 16

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SIMPLE TRIPLE TIME COMPOUND TRIPLE TIME

3 = 3*3 9
2 2*2 4
3 3*3 9
4 = 4*2 8
3 3*3 9
8 = 8*2 16

SIMPLE QUADRUPLE TIME COMPOUND QUADRUPLE TIME

4 = 4*3 12
2 2*2 4
4 = 4*3 12
4 4*2 8
4 = 4*3 12
8 8*2 16

Examples

1 2 3 4 5 6 1-2-3 4 5 6 1 and 2 3 1 and 2 3

SING THE SONG OH DEAR

The song is in 6 time.

8

GROUPING OF NOTES AND RESTS

In order the eye in rending music and to show more clearly the sub-division of the bar, quavers and
notes of less value are grouped together.

- For instance ,
is much easier to read than

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- The rule is: Group together as many notes as make one beat.

Exceptions:
4
a) In a bar of time, if the last two or the last two beats consists of quavers, they
4
should be grouped together.

2
b) The four quavers in a bar of time should be similarly grouped.
4

3 3
c) If a bar of 4 or 8 time consists entirely of quavers or bars of 3time entirely
8
of semiquavers, then all the notes should be grouped together.

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RESTS

Rule: a separate rest should be used for each silent beat.

NOT

NOT

Exceptions:

a. A semibreve rest is used for a whole bar’s rest in any time except 4 when the
Breve rest is used. 2

b. In quadruple time, a half bar’s rest either at the beginning or end of time bar is
shown by a single rest.

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C. In compound time, a one beat rest may be shown either by a dotted rest or by two rests.

OR

OR

s:-:-|s:-:-| s : m: d’ | s : m : d

Oh dear what can the mat-ter be?

f:-:-| f:-:-| f : r : m | f : m : r

Dear, dear what can the mat-ter be?

s :-:-|s:-:-| s : m : d|s : m : d

Oh dear what can the mat-ter be

l, : d : f| m : f : r | d :-:-|-:-:-||

John’ny’s so long at the fair? _____

s| s:m:f|s:m:f|s :m:d‘| s: m : d }

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He promised to buy me a bunch of blue rib-bons, he

f : r : m : f : r : m | f : r : m |f : m : r

Prom-ised to buy me a bunch of blue rib-bons , He

S : m : f | s : m : f| s : m : d‘| s : m : d

Prom-iced to buy, me a bunch of blue rib-bons, He

l: d : f | m : f : r | d :-:-|- : : ||

Tie up my bonny brown hair. ______

Example 2 in 6 BURDENS ARE LIFTED

8

Days are filled with sorrows and care

Hearts are lonely and drear

Burdens are lifted at Calvary

Jesus is very near

Chorus

Burdens are lifted at Calvary

Calvary Calvary

Burdens are lifted at Calvary

Jesus is coming near.

SCALES

Definition

- A scale (Latin ‘scala’ a ladder) is an alphabetical succession of sounds ascending from a

starting note.
- A scale is an arrangement or a progression of notes from a given keynote ascending or
descending.
- There different types of scales. The most common ones are:
 Diatomic scales

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 Pentatonic scales
 Chromatic scales

DIATONIC SCALES

- Diatonic scales are those that progress in steps of both full and half tones.
- There are two types of diatonic scales:
(a) Diatonic major scales
(b) Diatonic minor scales
- A diatonic major scale is that with semitones between the 3rd – 4th and 7th – 8th
degrees of the scale
- All other intervals are full tone apart.
- On piano keyboard, semitones on white keys only occur between BC and EF naturally.
- Allother intervals are full tone apart
- There are various methods of constructing major scales but the most common is that
which uses the tetrachord. Tetra—means four and Chord refers to notes.
- Thus, tetrachord means a series of four notes.
- A diatonic scale can be divided into two groups of four notes each.
- A slur is used to indicate the position of semitone.

dr m f s l t d’

1 2 3 4 5 6 7 8

-The first four notes form the first tetrachord and the second four notes form the
second, with a joining tone between the two.

SCALE OF C MAJOR

C D E F G A B C
First tetrachord Second tetrachord

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- The scale of C major has no accidentals.
- It naturally obeys the rule of tones and semitones of the major scales since BC and EF
which are always a half tone apart between 3rd and 4th, 7th and 8th degrees of the scale.

MAJOR SCALES WITH SHARPS

- To construct scales with sharps, the new scale is started from the first note of the
upper(second) tetrachord of the preceding scale.
- From C , the next scale starts from G as follows:

1 2 3 4 5 6 7 8
CD EF G A B C

First tetrachord Second tetrachord

- In the scale of G major , there is need to sharpen F , which is the seventh note of the
scale , in order to have the required pattern of tones and semitones of a major scale .
RULES OF A MAJOR SCALE
(1) The order of tones and semitones should be as follows :
1st 2nd 3rd 4th 5th 6th 7th 8th
T T ST T TT ST

Where T= Tone

ST= Semitone

SCALE OF G MAJOR

G A B C D E F G

1 2 3 4 5 6 7 8

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- We note in this scale that the semitone B to C is correctly poisoned between 3rd to 4th
notes.
- However, the semiquavers E to F are between the 6th and 7th notes.
- To make this scale sound correctly, a major scale, the note F must be raised to F # (F
sharp).
- This will be done by placing a sharp before the note F on the staff.
- This creates a semi-tone between F# and G.

G A B C D E F# G

1 2 3 4 5 6 7 8

d r m f s l t d

THE SCALE OF D MAJOR

- In the major scales except C major, there is at least one note which has to be sharpened a
flattened whenever it occurs, in more to preserve the correct ones of tones and semitones.

D E F G A B C D

1 2 3 4 5 6 7 8

- This scale cannot be called D major because the semitone E to F and B to C are between 2 nd –
3rd and 6th- 7th.

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- T o correct this arrangement, the note F should be raised to F#. This creates a semitone
between 3rd – 4th notes.
- The note C should also be raised to C# to create a semitone between 7th – 8th notes.
- In the scale of D major, two notes must be raised. They are F# and C#.

D E F# G A B C# D

d r m f s l t d’

NB: In order to check the intervals to know which notes to sharpen in the next scale, so as to
obey the rule of tones and semitones, any note that has been sharpened before as well as the
seventh one are simply sharpened.
- Instead of using the sharps every time they occur on the notes affected, they are
arranged in a permanent order on the staff immediately after the clef. This is called
keysignature.
- Sharps or flats within key signatures affect all the required notes wherever they are in
music unless the notes have been naturalized.

KEY SIGATURES

- This is a group of flats or sharps put at the beginning of a piece of music to determine
the key into which such music is. Once this is done, the notes which would have had to
be flattened or sharpened are left bare.
- This is important for it, makes it easier for a reader to read music.

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KEY SIGNATURES WITH SHARPS AND THE PATTERN FOR PLACING SHARPS

G
FFFF

E
4 5 4

C D
5

4 4

A
B

C Major G Major D Major A Major E Major B Major

F# Major C # Major

C Major G Major D Major A Major E Major B Major

F# Major C # Major
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DIATONIC MAJOR SCALES WITH FLATS

Unlike major scales with sharps where the next scale is built on the 5 th degree note of the preceding
scale , for flats we construct the next scale from the fourth degree note of the preceding scale.

1 2 3 4 5 6 7 8

C D E F G A B C

First tetrachord Second tetrachord

-Next scale will be built on F as follows

F G A B C D E F

KEY SIGNATURES OF MAJOR SCALES WITH FLATS AND THE PATTERN FOR PLACING FLATS

C
E D

4 5 4 4

B 5

5
A

G
F

C Major F Major Bb Major Eb Major AbMajorDb Major

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Gb Major Cb Major

TIE AND SLUR

THE TIE
When two notes of the same beat are tied together, they make out one sound of the
same pitch.
This is the same as adding the value of that beat.

Taa -aa- aa

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INTRODUCTION TO CREATIVE ARTS

(PART ONE)
Creativity is the ability to produce new and original ideas or items. It depends on imagination and
innovativeness of an individual.

Art is the human ability to transfer an idea into a form which is tangible or just visible (3D or 2D).

The products must satisfy an aesthetic (beauty) or utilitarian function.

Creative arts is therefore a discipline involving production of new and original ideas or items, both for
specific utilitarian function or for aesthetic appreciation or for all these functions . The discipline
brings together all subjects which involve Creativity in both production and performances.

COMPONENTS OF CREATIVE ARTS

1) Fine Arts
2) Craft
3) Music / Dance
4) Drama
Relationship

They involve human ability to display beauty in workmanship (Creativity).

SIMILAR FEATURES IN THE FOUR COMPONENTS OF CREATIVE ARTS

They are taught as one subject for the following reasons:

1) Creativity and Self fulfillment

They involve personal creativity, are enjoyed by the artist and they bring joy
to the world.
2) Support of each other

They are taught alongside one another, example

- Art produce woven articles used in music and drama as costumes.

- A dance can be dramatized and use props made by Fine artist or by a
craftsman.

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NB. None of these components stands purely on its own without the
other.
3) Are practical in nature
- Most of the work in these subjects is practical than theoretical.
- They have similar methodology i.e. for practical work.
- To some extent they are recreational. i.e can be done in and outside the
classroom setting.
4) Talent Development
 They help the individuals to discover their own talents
These talents are economically, socially and culturally important to
individual and the society.
5) Development of an all round person

These subjects enhance self expression and awaken innovativeness.

 By teaching them ones potential is activated and then nurtured for

self individual development and self fulfillment and to benefit the
society.
 Along other subjects Creative Arts contribute to development of
intellectual, emotional and physical abilities of a person.
6) Support of other subjects
 Creative arts have potential to transform one into a strong personality, who
can communicate powerfully.
 They sharpen intellectual
 Cultivate discipline
 Enhance teamwork/ co-operation
 Enhance leadership skills
 Songs, skits, painting and well written poems are used to enhance learning
in other subjects.
7) Language of expression
 These subjects are languages by their own rights. Example
 Music communicates through sound and lyrics.

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 Art communicate through visual and tactile means. In the assessment
of these subjects a similar language is used hence words such as:
Rhythm, balance, harmony, movement, unity, colour, tone, texture,
and shape are used in music, art, craft and drama.

FACTORS AFFECTING DEVELOPMENT, IMPLEMENTATION AND PROMOTION OF

CREATIVE ARTS.

There are many problems and threats to creative Arts in schools and in society.

1) ADMINISTRATIVE FACTORS
 Creative Arts is not examinable in KCPE exam.
 Very few secondary schools offer the subjects.
 Subject support projects and teacher’s capacity building are rarely
extended to this subject.
2) SOCIAL FACTORS
Children need to be exposed to be exposed to creative arts due to the
following:
i. Every child can create. Give them chance to enjoy artistic self-
expression.
ii. Problem solving skills involved in the subject broaden children’s
thinking ability and develop an analytic mind.
iii. Creative arts are therapeutic, soothe a child’s senses and prepares
them for concentration in other subjects.
iv. Children discover talents through Creative Arts.
v. Society is assisted greatly by the self employment created by Creative
Arts.
vi. Communication is done through Creative Arts.
vii. Society shows ignorance on the importance of the subject to the
child.
viii. Few role models to emulate.
3) ECONOMIC FACTORS

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 Poor reward for the experts in the subject area.
 Financial constrains to start Creative Arts as a business example:
Expensive Musical Instruments, high recording costs, marketing
expense, expenses for establishing an Art gallery, etc.
 Exploitation by producers and piracy.
 Teachers face challenges in implementation of Creative Arts in the
school curriculum, example:
i. Lack of art and craft materials, tools and equipment.
ii. Lack of proper work room, example equipped and suitable music
room, equipped Craft workshop, etc.
iii. Music equipments, example African and Western musical
instruments, a manuscript board.
4) CULTURAL FACTORS
Different cultures view artwork with varied attitudes, example:
i. As fetish- (something believed to posses, contain, or cause spiritual
or magical powers)
ii. Form of idolatry and incantation( creating magical results)
Some of these believe are as a result of missionary heritage.
iii. Artists are regarded as leisure lovers, confused people with strange
ideas.
5) INDIVIDUAL FACTORS

Some artists do not concentrate on a specific artist vision due to:

i) Discouragement
ii) Lack of creativity
iii) Inability or unwillingness to embrace /adapt modern
technology.
iv) Lack of exposure.
v) Lack of skills and discipline to produce well finished artwork.
vi) Lack of knowledge in entrepreneurship’

NB. Creative Arts can be a source of income and self-fulfillment if well-conceived

and developed.
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CREATIVE ARTS (PART TWO)
DEFINATION OF CREATIVE ARTS
It is the ability to produce new and original ideas in all things. This depends on
imagination and inventiveness of an individual.
Art is the making or expressing of what is beautiful. Whatever product made should
possess aesthetic value (beauty).
A creative art therefore, is a discipline involving production of new and original
ideas/materials and things both for a specific function and aesthetic appreciation.
This discipline integrates all subjects that involve original imaginations in both
production and performance E.g. drama or theater, music, film, creative writing, graphic
design, photography and visual arts.

COMPONENTS OF CREATIVE ARTS

Creative arts comprises of:-
1. Fine art
2. Craft
3. Music
4. Drama

FACTORS AFFECTING THE DEVELOPMENT, IMPLEMENTATION AND PROMOTION OF

CREATIVE ARTS.
These fall under the following categories.
1. Individual factors
2. Social factors
3. Economic factors
4. Cultural factors
5. Administration factors.

The above features can either be positive or negative of factors for or against the
excellence of creative arts
INDIVIDUAL FACTORS
These factors usually focus on the individual’s ability to produce or sell his products. His
innovative, inventive or creativity or creativeness.

POSITIVE FACTORS NEGATIVE FACTORS

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1. Self-expression 1. Lack of leisure time-most people are
committed either in other careers
or marriage.

2. Self-actualization involves 2. Other demanding tasks.

knowledge of self. This includes
talents-how well they can be
exploited.
3. Physical development 3. Career prospects e.g. bank
Choreography(dancing) employees or hospital staff will not
Movements made(body) have free time to sell their products
During acting, singing, or selling- or even develop them i.e. shooting
ability to speak or eloquence. of videos, music etc.

4. Career prospects-to earn a living 4. Lack of finance

5. Earn a name or recognition e.g. 5. Lack or raw materials

Wahu, Nameless, Michael Jackson. some good materials are under restriction
by the government e.g. skins of wild
animals to make drums or ivory where one
can be charged for poaching by K.W.S
6. Consumers’ feedback. After 6. Lack of exposure
advertising the product how well is
it taken by the people?
7. Consumers’ feedback.
8. Piracy
SOCIAL FACTORS
This involves the needs or requirements of the society. Whether it has a market within
the surrounding locality. One should only produce what can be consumed without
difficulty. For example “Mugithi” is very common in weddings today or during the dowry
process.
What you can produce to be taken up or absorbed?

POSITIVE FACTORS NEGATIVE FACTORS

1) Cultural ceremonies 1. Comparison with others
-whether your products can be absorbed.
Is your Wandindi a necessity within that
setting?

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2) Worship 2. Changes in social activities e.g.
-On religious basis. Can it be used to circumcision song- as it’s done in
worship God, where all shall be involved? hospitals
3) Work 3. Competition as opposed to festivals
Suitability to promote work spirit This discourages some artists because they
cannot beat others in the field.
4. Improper use of language
4) Education Language should be sieved to avoid
-Must have a specific theme or themes. abominations and rude language.

5) Sensitization 5. Cultural changes

-Has a specific topic to create awareness Gradual erosion of culture due to
e.g. HIV/AIDS Christianity and Education.
6) Communication. 6. Consumers’ feedback.
7) Festivals.
8) Leisure.
9) Consumer feedback.

ECONOMIC FACTORS
This depends on the availability or resources in form of materials for production and
finances.
POSITIVE FACTORS NEGATIVE FACTORS

1. Career musicians 1. Piracy of cassettes and DVDs,CDs

One has already excelled in that field. and videos
2. Teachers of music 2. International standards
3. Advertisements e.g. Bongo manVs. Irene
-Require money to succeed. 3. Conflicts in economic activities
4. Tourism -Government restrictions on some
Can the products attract tourists? products e.g. K.W.S services prohibit killing
The site of your business matters a lot. of monitor lizards, colombus and monkeys
5. Urbanization to get skins.
-Where one needs to see the music of his 4. Lack of finances
culture or society. -for production purposes and to travel.
6. Production of videos, cassettes, 5. Consumers’ feedback.
DVDs. The more producedthe more
the payments.
7. Ready market
8. Consumers’ feedback.

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CULTURAL FACTORS
This takes up the beliefs and materials used for production. What one believes matters a
lot in most cultural [Link] belief in traditional circumcision practices
among the Luhya in Busia and other [Link] dancing and folk music in the coastal
regions of Kenya. The materials to produce such products should be ethnic and quite
natural.
POSITIVE FACTORS NEGATIVE FACTORS
1) Cultural ceremonies- are usually 1) Intermarriages
available in many societies and Where one line of culture cannot be
cultures followed.
2) Material cultures 2) Dynamism in culture
E.g. costumes and instruments. E.g. circumcision.
3) Cultural beliefs 3) Urbanization
-music 4) Career interference
-sacred objects. Little time left for other activities.
4) Cultural activities. 5) Modern technology e.g. CDs, Video
5) Consumers’ feedback. tapes and DVDs.

ADMINISTRATIVE FACTORS.
There are some of the features found in the administration in reaction to governance or
leadership.
It may bring about some requirements or needs in the government as well as
prohibitions.
POSITIVE FACTORS NEGATIVE FACTORS
1. National ceremonies e.g. oath 1. Prohibitions by the government or
taking of leaders. some cultures.
2. Natural programs. e.g. K.W.S restricts poaching to get skins
3. Leaders’ enthnomenent e.g. chief or or ivory.
president. -Christianity and urbanization polluting
4. Praise of leaders. some cultural practices.
5. Inauguration/adverts. 2. Change in leadership e.g. Tawala
6. Campaigns- Posters or Placards. Kenya tawala at the time of Moi.
3. Misuse of resources.
4. Government policy
E.g. -taxation
-duty free products

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AFRICAN TRADITIONALMUSICAL INSTRUMENTS

Classification:
Classified according to their;

I. Main source of sound production

II. Internal and external basic shape
III. The function of the instrument
IV. Tuning
V. Holding and method of playing them.

1. Chordophones- Strings
a. Fiddles
b. Musical bows
c. Harps
d. Lyres

2. Aerophones- Wind
a. Flutes
b. Reed Pipes
c. Horns
d. Double Reed Instrument’s
e. Whistles

3. Membranophones- Percussions
- Drums of all shapes and sizes.

4. Idiophones – Percussions
i. Melodic Idiophones e.g. Marimba
ii. Rhythmic Idiophones

CHORDOPHONES
- Chord means String.
- Phone means Sound

They produce sound through vibration of the stretched string by;

i. Striking
ii. Plucking
iii. Bowing
iv. Strumming

Chordophones are further subdivided into four other groups:

A. Fiddles
These are one or two string instruments played by bowing. They have;
i. Body (Resonator)
ii. Neck
Neck serves as a handle and starching strings beyond the resonator.

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Bridge: Rises strings into position
Peg: Tightens the string thus tuning the instrument.

To produce different sounds, the player alternately touches the string at different lengths from the
resonator. The right hand bows the string.

Examples of Fiddles in Kenya:

i. Shiriri (Luhya)
ii. Orutu (Luo)
iii. Wandindi (Kikuyu)
iv. [Link]’ (Kalenjin)
v. Ekegogo (kuria)
vi. Ongengo/ Otete (Gusii)
vii. Ageneget (Iteso)
viii. Mbeve (Kamba)
ix. Mwazigizi /zeze (Taita)
x. Chemengeng (Kipsigis)
xi. Eshilil (Siriri, Kilili)

B. Musical Bows:
They are played by;
a. Striking
b. Plucking

They are of Three Lyres:

A. Those resembling a hunters bow. They use ;
i. Calabash (Gourd)
ii. Coconut shell as a resonator
Examples:
i. Entono- Kuria
ii. Uta (Bajouni of Lamu)
iii. UtawaWanthi- Kamba
iv. Limoyi – Bukusu

B. Ground Bows:
Tin or skin is put under the ground to serve as a resonator. Examples are;
i. Nderemo – Kikuyu
ii. Mbaito- kisii
iii. Enderendere / Indingid (Tin)-Maragoli
iv. Chagongo- Maragoli South

c. Mouth bows:
Musical bows whose other end of stick is put into the mmouth to serve as a resonator. Examples are:
i. Obokano- Kuria
ii. Lukuhuji- Tiriki
Functions of parts of some musical bows.

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i. String- Struck to produce sound
ii. Curved Stick- For holding and attaching the string.
iii. Gourd Resonator- To amplify sound.
iv. Cushion- To hold the resonator firmly onto the bow.
v. Tuning wire- It divides the string into two different pitches
vi. Playing Stick-For striking the string.

Occasions when the Bows are played are;

i. Wedding / Marriage ceremonies
ii. Beer parties
iii. Circumcision Ceremonies
iv. General entertainment.

C. Harps
- Instruments whose neck is arched.
- The strings run from the neck to the resonator forming an angle.
- Strings are of different lengths played by plucking with fingers.
Original Adeudeu has 5(Five) strings eg. Adeudeu – Teso.

D. Lyres:
Strings vary in number from five (5) to eight (8).
- They have two arms projecting upwards connected to a crossbar.
- The strings lie parallel to the resonator fastened to the crossbar using the knobs which serve as
a tuning device.

Examples:

i. Nyatiti- Luo (Siaya District).

- Has 8(Eight) strings.
- Has a curved crossbar
- Resonator has a sound hole on the end side.

ii. Obokano- Abagusii.

- Has 8 (Eight) strings.
- It is the biggest Lyre in Kenya.
- Arms are long and stretched out, with a straight crossbar.
- Player may sit on a stool or standing.
Its accompaniments are Chinchigiri for rhythmic support.

iii. Litiengu-Bukusu, Tachoni, Kabras (Bungoma-Kakamega).

- Have seven strings with an oval shaped resonator.
- Arms long and almost parallel.
- Short crossbar.

iv. Chemonge / Chepkonge – Kalenjin.

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- Has a wwoden resonator (Box) and rectangular.
- Has six (6) strings each with a traditional name.
- They start with the lowest in pitch.
[Link] –Oldman
[Link]- Following Boiyot.
4. Nambaang’uan – Number four
3. Nambsomoh- Number three
2. Nerubekiptililiet- Following Kiptililiet
1. Kiptililiet –Nmae from the sound it makes.

Other types of Lyres (Strings):

a. Iritungo (Kuria)- 8
b. Obukhana (Marachi)-8
c. Ketuba (Nandi), Kipsigis)-8
d. Mukandit ([Link])-5
e. Pukan (Pokot) -5
f. Chepkesem (Kalenjin)- 5
g. Bukandit (Kalenjin)-8
h. Licheni (Marachi)-8

II. AEROPHONES
These are instruments that permit a column of air to vibrate within themselves.
-They are the wind instruments.
-There are five groups of Aerophones.

A. FLUTES
Made from; i. Hollow stems or branches eg. Bamboos
ii. Plastic Tubes
-They are either open ended or closed at one end.
-The mouth can either be notched or round.
- Number of finger holes varies depending on the type of the instrument and the ethnic group that uses
it.
- It can be transversely blown eg. Chivoti or End blown [Link].
Examples of Flutes in Kenya;
a. Chivoti – Miji-kenda (Coast)
- Traverse flute
- One end closed
- Oval shaped blowing holes.
- Six finger holes
- The instrument is played by use of the tongue to put accent on notes (Tonguing).
- Tuning is general; d:r:m:s:l:t differing from player to player and communities.

b. Mulele- Tachoni
- Open at both ends
- V- Shaped mouth hole.

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Other flutes are:
- Ndururet- Kalenjin
- Muturiru- Kikuyu
- Ekibiswi- Kuria
- Emborogo-Kuria
- Ekerongwe-Kuria
- Umwere
- Ebune-Turkana
- Auleru-Iteso
- Asili – Luo

B. REED PIPES.
- These are made from grass like rice stalks or millet stalks.
- They are end blown and don’t have finger holes.

C. HORNS.
- Most horns are made from natural animal horns.
- Some are made from calabash tubes e.g. Abo- (Luo).
- Others are made from hollow wood or metal [Link]- (Akamba)
- The longer the tubes, the more the volume of the sound.
- Most horns are side blown.
- To produce different pitches, control breath by tightening or loosening of the lips when blowing.
Examples;
i. Oluka –(Tachoni-Luhya)
ii. Abu-(Luo)
iii. Soo- (Akamba)
iv. Tung – (Luo) –Big Animals.
v. Arupepe-(Iteso)
vi. Adet – (Turkana
vii. Atom- (Turkana)
viii. Kondei-(Pokot)
ix. Siwa- (Lamu-Bajouni)
x. Emovo-(Maasai)
xi. Coro-(Gikuyu- Embu-Meru)
xii. Esegere-(Kuria)
xiii. Egegene-(Kuria)
xiv. Ngoli-(Miji-kenda)
xv. Oporo-(Luo)
xvi. Oluika-(Luhya)
xvii. Esosi-(Iteso)
xviii. Induru- (Kuria)
xix. Ikondit / Kikondit-(Kipsigis)
xx. Iriaget(Buffalo horn)-(Kipsigis)
xxi. Ekhombi-Saima (Luhya-Busia)
xxii. Aluti- (Iteso)
xxiii. Aryembut – (Saboat)
xxiv. Ndereri- (Dawida)

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xxv. Movo- (Saburu)
xxvi. Ndweru (Goats Horn)- (Luo)
xxvii. Egetureri (Gazelles Horn)-(Abagusii)
xxviii. Karumbera – (Gikuyu)

D. DOUBLE REED INSTRUMENTS.

- These instruments are called double reed instruments because they have two reeds at the
mouthpiece.
- These reeds vibrate when blown to produce sound.
- There are two types of double reed instruments found in Kenya.
1. Nzumari- (Digo) Lamu, Rabai
2. Bung’o- (Giriama- Duruma)
- Apart from the length, the instruments are almost similar in shape.
E. WHISTLES.
- They are of various sizes and types.
- Some are made from clear pipes, bamboo pipes or pieces of river reeds.

Example:
- Biringi- (Gikuyu)
- Vilingi- (Akamba)

III. MEMBRANOPHONES
- These instruments produce sound through the vibration of the stretched skin.
- Drums are identified from their external shape.
- The internal shape of the drum gives the quality of the sound produced.
- Some are covered on (i) Both ends with a membrane (ii) Others have one end left open.
- Membranes are attached to the head by (i) Lacing: - Use of ropes as in Mabumbumbu
(ii) Nailing/ Pegging.
Tuning:
The tuning style is in two forms;
a) Warming in the sun or by fire side, ie. If the membrane is attached to the head by pegs or nails.
b) Tightening the laces on the tuning ring if the membrane is attached to the head by laces.
Playing Drums is by:-
a) Use of elbows
b) Palms
c) Sticks
d) Fingers
- The player may hit the membrane or the shell at the same time.
- Two people may play one instrument at the same time.
Holding of the instrument vary;
i) Isikuti – Suspended at the shoulder with a string.
ii) Mabumbumbu – Has stands while others are held in between the legs with a string going
rounfd the shoulder.
iii) Mwiempe- String going round the shoulder.
iv) Chapuo – Suspended round the waist.

Social- Cultural Considerations.

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Some drums are male while others are female, depending on communities.
Examples:
a) Mabumbubu:- A a Three Legged hollow drum used by theMiji- Kenda popular in
i) Sengenya
ii) Gonda
iii) Chele Dances.
- Played by striking with fingers.
- One end of the drum is left open.
Tuning:
i) By warming it by the fire or in the sun
ii) By stretching and expanding the tuning laces.

b) Chapuo: Miji-Kenda
- Covered on both sides with a skin.

Tuning:
- Tightening or loosening the ropes.
Playing:
- By suspending it around the waist and strikes it with fingers.
- It is played under the six tuned Sengenya, Chela and Gonda dances.
c) Mcirima: Miji-Kenda.
- It is one of the tuned Sengenya drums covered on both ends with a skin membrane.
- It resembles theChapuo, but slighlghly bigger.
- The tuning and playing methods are similar to those of the Chapuo.

TUNED DRUMS.

- Belong to the Mebranophone family.

- They are in a set comprising of ;
1. Two Chapuos
2. Two (2) Mchirima(s)
3. Two (2) Mabambumbu
- They are played by a group of three (3) people.
- Two of these people stand at the sides with Chapuos fixed to their waists. And play both ends of
the drums with their open palms.
- The third player stands in the middle, plays two (2) Mchirima’s as well as two (2)
mabambumbusone ,one side.
- Each plays his rhythm but blending well with the others.
- These drums are played by both men and women of any age.
- They are played at wedding ceremonies, evening entertainment and funerals.
- Also during the performance of the following dances:
a. Sengenya of the Giriama.
b. Gonda of the Digo.
c. Nyandati of the Duruma
d. Chela of the Rabai.

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- Wind instruments like Chivoti and Nzuma accompany the dances.
- A metal plate or debe called Upatsu is also used to accompany the drums by the Miji-Kenda
groups.

Below is the arrangement of the tuned drums;

CHAPUO
CHIRIMA
BUMBUMBU

CHAPUO
CHIRIMA

d) Isikuti Drum- Luhya (Western Province)

- Cylindrical bottle shaped hollow membrenaphone.
- Hang on the shoulder when playing.
- The Isikuti drums are available in asset of three (3).
i) SukutiIsatsa (The biggest).
ii) SukutiIkhasi (Middle).
iii) SukutiMawna (Smallest).
- The middle one is also known as Mutiti.
- A metal ring (round) known as ekengele gives the percussive support.
e) Efumbu- Bukusu (Open one side).
f) Mshondo – Giriama
g) Atenusu- Teso (Coveredd on both sides)
- Played by hands or sticks.
- Others use a debe as aresonator.
h) Endonyi- Bukusu (Company of Efumbu)
i) Bul – Luo
- Covered both sides and tightened by ropes, tendons or strips of leather.
- Drum is played on both sides.
- Played in an ensemble of Puga (gourd), Opro (Horn), Asili (Flute).
- It accompanies the bul dance i.e. (a famous Luo dance for entertainment).
There are three types of Bul:-
j) BulMaduong’- The big drum.
k) BulMadiere- The middle drum
l) BulMatin – The small drum.

 Bunolorinel- covered one side.

 Kalapla- womans drum. Played at Funerals and Parties.

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EASTERN PROVINCE

A) Kithembe- Woman’s drum of the Kamba ethnic group.

- It accompanies the Kilumi dance.
Pegs or Nails
Open End.
Membrane

- Kilumi dance chases away evil spirits from possessed women.

B) Mukanda- Covered on both sides. It’s played by the wakamba.

- Tuned by warming on fire or the sun.
- Suspended by the waist while playing.

C) Ngutha ,Mwinjiru, Mwiempe- They belong to Embu,

Mbeere and Chuka.
- The drums have the same make, played the same and covered on one end.
- Its held between the legs with a string support across the shoulder.
Pegs String- Cow, Goat skin or Giant Monitor lizard

Membrane
Others are :-
a) Boula- Somali
b) Sikutit -Kalenjin
c) Mshondo- Mikjikenda
d) Ndarama – Gikuyu
e) Etume- Turkana (Rarely seen)

Steps of making drums.

a) Select the right type of wood.
b) Season the wood
c) Cut the wood to required measurements.
d) Hollow the wood to make it a resonator.
e) Treat the skin.
f) Cut the skin
g) Prepare pegs and laces
h) Mount the skin on the resonator.
i) Fix the pegs on the resonator.

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j) Tune the drum to the required pitch
k) Play the drum a bit to test it.

IDIOPHONES.

- These are instruments whose vibration is linked to the material being used to produce the
sound.
- They are self-soundinginstruments.
- Idiophones are used to reinforce the rhythmic foundation of music.
- Sound is produced by :-
i) Striking
ii) Shaking
iii) Purring [Link]- Luhya.- like use grass items tied together and rubbed with a palm of
hands.
iv) Scrapping
v) Clashing together
vi) Plucking (Dongo).
Idiophone can be put into two categories:
a) Melodic idiophones
b) Rhythmic idophones.

Melodic Idiophones;
- These are tuned with keys which produce sound when plucked or struck. Eg. Xylophones ie.
Marimba(Striking), Lamellaphonesie. Adongo (Plucking).

1. Marimba.
- Xylophone with a definable pitch.
- Made of seven wooden slabs.
- Played by use of rubber tipped drum sticks for hitting the wooden bars.
- The tuning is d : r : m : s : l : t.
- The Ugandan Xylophone is called Amadinda.

Wooden slabs Resonator

Cushion Playing Sticks

2. Adong- Iteso. (Played Idiophones)

- This instrument has Lamllae( wires) from bicycle or umbrella spokes.
- These are fixed on the wooden reonsatro and plucked to produce sound.
- The Lamellae are of different lengths which give different pitches.

Lamellae

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Bridge
Wooden Resonator

Sound Hole

3. Dongo- Miji- Kenda)

- The instrument has Lamella like the Adongo of Iteso except that it has a bigger and round plastic
resonator.

Lamellae
Bridge

Resonator

Rhythmic Idiophones.

1. Kayamba (Miji- Kenda)

Reeds

Frames

- A tray shaped instrument composed of reeds sewn together to form two layers. The space
between the two layers contains seeds which produce rattling sound when the instrument is
shaken from side to side.
-
Other examples of Rhythmic Idiophones are:-
a) Tin Rattles and Gourds:
- Puga- Luo
- Ajawa- Luo
- Kayekekepo – Iteso
- Kisasi / Chisasi- Luhya
- Ndanga – Digo

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- Ibirandi (Gourd)- Kuria
- Gicandi (Gourd)- Gikuyu
- Enyengo – Samia
- Ersege – Kuria
b) Leg Rattles:
- Kiigamba – Gikuyu
- Ngichoroi- Turkana
- Olutuala – Maasai
- Njuga – Dawida( Taita)
- VikuliMaragoli, Luhya,
- Esimane- Iteso
- Gara- Luo
- Njingiri – Gikuyu
- Ibiriria – Kuria
c) Boards and Logs
- Kirianditi- Saboat
- Enyengda- Luhya
d) Cowbells
- Inyimba- Maragoli
- Ndome- Gikuyu
- Okot- Luo

Occasions when Idiophones are played:-

i) Signals for attracting attention (Bells).

ii) For assembling people.
iii) During religious rites and ceremonies.
iv) For providing rhythm when special personalities are making movements e.g. Priests,
initiates etc.
v) For emphasizing movements of dancers in a traditional dance.
vi) For reinforcing verbal communication.
vii) For scaring birds away from gardens.
viii) For making movements of some domestic animals that need to be watched or identified.

OUTLINE ANY FOUR ROLES OF COSTUMES IN THE PERFORMANCE OF A FOLK DANCE.

 Portrays the culture of people.

 Elaborates body movements.
 Makes the performance colorful.
 Gives characters to the performers.
 Enhances freedom of performance.
 Inspires/motivates the audience.

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 Brings out the vitality of performance.

EXPLAIN ANY FIVE SKILLS YOU WOULD LIKE TO DEVELOP IN YOUR CHOIR FOR EFFECTIVE SINGING.

 Good posture/stance.
 Vocal production.
 Voice projections.
 Tone quality.
 Diction/articulation/enunciation.
 Blending of voices.
 Intonation.
 Interpretation/mood of the song.
 Expression and dynamics / attack.
 Listening / aural projection.

OUTLINE ANY FIVE OBJECTIVES THAT WOULD BE ACHIEVED THROUGH MUSICAL PRESENTATION
DURING A SCHOOL PARENTS DAY PROGRAMME.

 Entertainment /enjoyment.
 Soliciting for assistance for parents/message.
 Display of talents/ development.
 Exposure of personal and school achievement.
 Promotion and preservation of our culture.
 Building song repertoire.
 Social unity through performing together.
 Developing rapport between the parents and local community.
 Enhance appreciation of music.
 Personality building.
 Educative.
 Making the occasion.
 Marketing the subject.

OUTLINE ANY FIVE LEARNING ACTIVITIES A TEACHER SHOULD EMPLOY IN TEACHING 3 4 TIME TO A
STANDARD SEVEN CLASS.

 Singing songs in 3 4 times.

 Classifying rhythm 3 4 time /grouping.
 Emphasizing accents in 3 4 time /conducting.
 Rhythmic dictation in 3 4 time.
 Identifying melodies in 3 4 time.
 Clapping and tapping of note value.

USES OF AUDIO - VISUAL AIDS IN THE TEACHING OF MUSIC.

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 They enhance curriculum coverage.
 A quick source of reference while teaching
 Can represent a lot of information and facts in graphics [Link] charts of music symbols.
 When displayed in the classrooms walls they can be used for a long time.
 The audio cassettes can be used in all parts of the country especially those which are not easily
accessible.
 A good source of motivation to the [Link] vedio recording of cultural dances and folk songs.
 Difficult concept in music can be demonstrated through audio – visual recordings.
 Cultural dances and folk songs (both local and instrumental) can be or imitated through audio –
visual recordings.
 Integrates music with other subjects across the curriculum.
 Enhances understanding and retention of information.
 Allows methods variations and breaks monotony.
 Enhances manipulating skills e.g. playing music instruments.

OUTLINE FIVE ADVANTAGES A SOLOIST MAY HAVE OVER THE CHORUS DURING A FOLKSONG
PERFORANCE.

 Has the greatest scope improvisation.

 Compose texts during the performance.
 Determines the length of the performance/starting.
 Determines the pitch.
 Determines the tempo.
 Can vary the overall form of the piece/mood.
 May overlap the chorus.
 May accompany the response by e.g. singing, chant.
 Keeps the singers in tone through the performance.
 Motivates the performers as they present their work.

HOW WESTERN MUSIC HAS INFLUENCED KENYAN INDIGENOUS MUSIC.

 Use of major and minor scales.

 Use of western music instruments.
 Introduction of western music harmony.
 Introduction of the western music way of tuning music instruments.
 Performance of music on stage.
 Timing of music on stage.
 Use of western form and structure in music.
 Use of western music notation.
 Use of track recording.
 Pitching of music /tonality.
 Use of modern costumes.
 Performance on stage/ conducting.

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 Borrowing melodies/ imitating western songs.
 Created change of attitude from the cultural music to western.e.g. Killing cultural music.

YOU ARE PREPARING YOUR STANDARD 4 CLASS TO PARTICIPATE IN A PERFORMING ARTS

PROGRAMME AT YOUR [Link] ANY FIVE ACTIVITIES FOCUSING ON THE THEME, “CHILD
LABOUR” WHICH THE PUPILS WILL PRESENT ON THE OCCASION.

OUTLINE ANY FOUR ROLES OF COSTUMES IN THE PERFORMANCE OF A FOLK DANCE.

 Portrays the culture of people.

 Elaborates body movements.
 Makes the performance colourful.
 Gives characters to the performers.
 Enhances freedom of performance.
 Inspires/motivates the audience.
 Brings out the vitality of performance.

EXPLAIN ANY FIVE SKILLS YOU WOULD LIKE TO DEVELOP IN YOUR CHOIR FOR EFFECTIVE SINGING.

 Good posture/stance.
 Vocal production.
 Voice projections.
 Tone quality.
 Diction/articulation/enunciation.
 Blending of voices.
 Intonation.
 Interpretation/mood of the song.
 Expression and dynamics / attack.
 Listening / aural projection.

OUTLINE ANY FIVE OBJECTIVES THAT WOULD BE ACHIEVED THROUGH MUSICAL PRESENTATION
DURING A SCHOOL PARENTS DAY PROGRAMME.

 Entertainment /enjoyment.
 Soliciting for assistance for parents/message.
 Display of talents/ development.
 Exposure of personal and school achievement.
 Promotion and preservation of our culture.
 Building song repertoire.
 Social unity through performing together.
 Developing rapport between the parents and local community.
 Enhance appreciation of music.

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 Personality building.
 Educative.
 Making the occasion.
 Marketing the subject.

OUTLINE ANY FIVE LEARNING ACTIVITIES A TEACHER SHOULD EMPLOY IN TEACHING 3 4 TIME TO A
STANDARD SEVEN CLASS.

 Singing songs in 3 4 times.

 Classifying rhythm 3 4 time /grouping.
 Emphasizing accents in 3 4 time /conducting.
 Rhythmic dictation in 3 4 time.
 Identifying melodies in 3 4 time.
 Clapping and tapping of note value.

USES OF AUDIO - VISUAL AIDS IN THE TEACHING OF MUSIC.

 They enhance curriculum coverage.

 A quick source of reference while teaching
 Can represent a lot of information and facts in a graphics [Link] charts of music symbols.
 When displayed in the classrooms walls they can be used for a long time.
 The audio cassettes can be used in all parts of the country especially those which are not easily
accessible.
 A good source of motivation to the [Link] vedio recording of cultural dances and folk songs.
 Difficult concept in music can be demonstrated through audio – visual recordings.
 Cultural dances and folk songs (both local and instrumental) can be or imitated through audio –
visual recordings.
 Intergrates music with other subjects across the curriculum.
 Enhamces understanding and retention of information.
 Allows methods variations and breaks monotony.
 Enhances manipulating skills e.g. playing music instruments.

OUTLINE FIVE ADVANTAGES A SOLOIST MAY HAVE OVER THE CHORUS DURING A FOLKSONG
PERFORANCE.

 Has the greatest scope improvisation.

 Compose texts during the performance.
 Determines the length of the performance/starting.
 Determines the pitch.
 Determines the tempo.
 Can vary the overall form of the piece/mood.
 May overlap the chorus.
 May accompany the response by e.g. singing, chant.

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 Keeps the singers in tone through the performance.
 Motivates the performers as they present their work.

HOW WESTERN MUSIC HAS INFLUENCED KENYAN INDIGENOUS MUSIC.

 Use of major and minor scales.

 Use of western music instruments.
 Introduction of western music harmony.
 Introduction of the western music way of tuning music instruments.
 Performance of music on stage.
 Timing of music on stage.
 Use of western form and structure in music.
 Use of western music notation.
 Use of track recording.
 Pitching of music /tonality.
 Use of modern costumes.
 Performance on stage/ conducting.
 Borrowing melodies/ imitating western songs.
 Created change of attitude from the cultural music to western.e.g. killing cultural music.

YOU ARE PREPARING YOUR STANDARD 4 CLASS TO PARTICIPATE IN A PERFORMING ARTS

PROGRAMME AT YOUR [Link] ANY FIVE ACTIVITIES FOCUSING ON THE THEME, “CHILD
LABOUR” WHICH THE PUPILS WILL PRESENT ON THE OCCASION.

1. ACAPPELLA – Unaccompanied vocal or choral performance.

2. ACCELERANDO – Gradually increasing the speed.
3. ACCENT – A sign showing that the music should be stressed.
4. ACCOMPANIMENT – Subordinate parts added to support the principal part or parts of a
performance.
5. ADONGO – A Teso lamellaphone played by plucking.
6. ADET – A horn of the turkana people.
7. A DOWN BEAT – the first beat of the measure.

-downward motion of the conductor baton/ hand to mark this beat.

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8. ALLA BREVE – Lime or cut time.

9. A ROUND – A single melody in which two or more voice parts enter in turns.

10. ARIA – A melody with a single voice with accompaniment in an opera, oratorio.

11. ANTHEM – Musical composition usually for choir and organ to be sung in churches.

-a song or hymn of a country.

12. ANACRUSIS –Music that starts on an upbeat/ weak beat.

13. A TEMPO –Back to the original speed.

14. BOULA –Somali drum made of a hallowed tree branch and covered with a goat skin.

15. BATON –A special stick used by conductors of music.

16. BARITONE –A male voice between tenor and bass.

17. BUNG’O –A double reed instrument of the Mijikenda people.

18. BUMBUMBU –A legged drum with a single membrane of the Mijikenda normally used in

Sengenya and Bumbumbu dances.

19. CHOIR –A body of singers usually divided into parts so that each group sings a special part.

-choirs are formed for sacred or secular purposes. The word is also used to refer to

Instrumental groups of the orchestra e.g. brass choir, wood wind choir etc.

20. CHORD –a combination of sounds that constitute a single unit of harmony, usually three or more

notes

21. CHORISTER –Member of a choir.

22. CONDUCTOR –One who directs a musical performance by use of words or buton.

23. CHEPKONG’ –A kipsigis(kalenjin) six string [Link] a wodden sound box and wire strings.

24. CORO –A kikuyu horn obtained from an animal e.g. ox, buffalo etc.

25. DESCANT –Voice or part above the others.

26. DIATONIC SCALE –A major or minor scale made up tones and semitones.

27. DA CAPO –Repeat from the beginning of the music.

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28. DISCHORD –Combination of musical notes lacking agreement or harmony.

29. DUPLET –Two notes performed in the time of three.

30. DOUBLE FLAT –An indication of the lowering of the pitch of a note by two semitones.

31. DUET –A combination of two performs or a work for such combination with interdependent roles.

32. DUPLET TIME –A rhythmic time in which the main division is two as opposed to a division of three.

33. DYNAMICS –Varied expressions in both speed and volume supposed to be maintained in a given

form of composition.

34. EMBOROGO –A flute of the Kuria people.

[Link] –A turkana flute made from wood/plastic pipes.

[Link] –A single- headed drum traditionally of the Kuria people.

[Link] –A horn of the maasai people.

[Link] –Small gourd(shaker)half filled with seeds fixed on a short stick played by kuria people.

39. ENTABANANA –A mixed dance of abagusii.

40. EFUMBU –A single headed drum of the luhya people.(SAMIA)

41. EKEGOGO –A one string fiddle of Kuria origin.

42. ENKO –A kuria aeroplane.A gourd with three holes on the belly.

43. FOLKSONG –A song known to a people but is not accredited to a particular composer.

44. HYMN –Song of praise to God. Especially one for use in religious service.

45. HARMONY –Simultaneous combination of two or more songs/parts.

[Link] –A stringed musical instrument played by blowing.

[Link] MUSIC –Music that accompanies initiation ceremonies to encourage,advice,entertain

Etc.

[Link] –A name of a set of drums found among the luhya community.

-The dance in which Isukuti drums are used.

[Link] –The difference in pitch between any given two sounds/distance in pitch.

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50. IDIOPHONES –A self sounding musical instrument.

51. KIRIANDIT –A sabaot small rectangular board beaten with two sticks.

52. KETUBA –An eight stringed instrument of the kipsigis or kalenjin people.

53. KILUMI –An Akamba dance performed during ritual ceremony. It uses drums and whistles as

accompanied to singing.

54. LITUNGU –A seven stringed lyre of the luhya(bukusu) people of Kenya. The instrument may be

accompanied by CHIMBENGELE.

55. LEGER LINES –Short lines added below or above the staff to accommodate notes that are too high

or too low to be represented on the staff.

56. LULLABY –Type of song that sends a baby to sleep.

[Link] NOTE –The seventh degree of a diatomic grade.

58. LEGGIERO –Lightly.

59. LALET –A horn of kalenjin people.

[Link] –The words of a song.

61. MUKANDA –A double headed drum traditionally of the akamba people.

62. MODULATION –Change of key within a composition, passing from one key to another.

63. MUTURIRU –A flute of the kikuyu people.

64. MULELE –A flute of the luhya people.

65. MWOKOMBO –Neo-traditional kikuyu dance – According and Karing’aring’a are used.

-dancers move in pairs of man and woman.

66. MBEVE –A one stringed instrument of the kamba people.

67. METRONONE –An apparatus for sending and adjustable number of beats per minute.

This may be used to determine a required speed of a musical performance.

68. MELODY –A succession of note varying in pitch and having a recognizable musical shape.

69. MEMBRANOPHONE –A class of instruments which produce sound using the vibrating membrane

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which is stretched over an opening.

[Link] SONGS –Songs that express the aspirations,expectations and goals of a people.

-Songs that express patriotism

-Songs that indicate traditional heritage of a people.

71. NZUMARI –A double reed instrument originally used by the mijikenda people Digo/Rabai.

72. NOTE –A sound or symbol representing the sound.

73. NGUTHA –A single headed drum traditionally of the mbeere people.

[Link]’ –A metal ring worn on the toe of the right foot of a luo nyatiti player.

[Link] –Consisted of recitative, individual actors on the stage sang with the free rhythm and

inflexious of speech.

[Link] –Like opera but on a sacred subject sung in a [Link] they had scenary cos

tumes and action.

77. ONG’ENG’O –A one stringed instrument of the abagusii.

78. OCTAVE –Interval of an eighth or distance where same note is repeated either higher or lower.

79. OSTINATO –Continuos or persistent repetition of a melody and/or rhythmic figure.

80. PART SONG –A vocal composition for several voices or groups of voices.

81. PHRASE –A short musical idea ending with a candence.

[Link] –A 6 stringed instrument of Pokot people.

83. PENTATONIC SCALE –A scale that has five notes scale that has no [Link] d r m s l d’.

[Link] –The highness or lowness of a sound.

85. PERCUSSION –Any instrument whose sound is produced by striking, hitting or shaking.

86. QUARTET –A composition of four voices or instruments.

-four singers or performers who sing or play such composition with interdependent

roles.

87. SENGENYA –A mijikenda(digo) dance for men and women. Drums, Chivoti and Nzumari provide

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the music in the [Link] dance is performed for entertainment.

88. SINGING GAMES –Children’s play songs which they sing as they play dance, clap their hands or

jump in various formations of dance.

[Link] –A curved line placed above or below a group of notes to indicate that the notes are to be

performed smoothly.

90. SCORE –The musical notation showing all parts allotted to various performers in an ensemble.

[Link] NOTATION –The method of writing music using conventional staff symbols.

[Link] SONG –A song in which the same music is repeated for each verse of poem.

93. SYNCOPATION –An alteration of a regular rhythmic accent away from a strong beat onto a weak

beat.

-A displaced accent. Transferring the strong beat on to a weaker one or a weaker

beat.

[Link] –A single performer of music, a leader of a song.

[Link] –Five parallel lines on which music is written.

[Link] –Alphabetic succession of sounds ascending or descending.

97. SOPRANO –Highest female of highest voice in a mixed choir.

98. S.A.T.B –A vocal combination of female and female voices – Soprano, Alto, Tenor and Bass.

[Link] –Speed of a piece of music.

[Link] –Quality of sound.

101. TRUMPET –Brass/ wind instrument. Has valves for change of pitch normally used in military bands.

102. TRIPLET –Three musical notes sung or played in the time of two.

103. TRIO –A group of three performers singing or playing in different parts.

104. TAMBOURINE –A type of small drum of the Arab origin. It is truck with fingers and shaken with the

hand; it has little jingles inserted round its wounded frame.

105. TERNARY FORM –A classification used of a movement in three sections. The third section is a

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repetition of exact or similar material as the first one ABA or ABA’.

106. TUNING FORK –A two prolonged metal folk that when struck produces a pure note of constant

pitch; prolonged metal for pitching.

107. TONALITY –The presence and relationship of key centers within a musical composition.

- Relationship of notes within a melody.

108. TETRACHORD –A series of four sounds in alphabetical order generally applied to the lower or upper

four notes of a diatonic scale.

109. TONIC –The first note of a major or minor scale.

110. UP-BEAT –The last beat of the bar in a piece of music.

111. VIOLIN –A bowed 4 stringed instrument of the highest pitch of the string family.

112. WORKSONG –A song sang to stimulate the working mood.

[Link] –A one or sometimes two stringed (fiddle) musical instrument of kikuyu origin.

YOU ARE PREPARING YOUR STANDARD FOUR CLASS TO PARTICIPATE IN A PERFORMING ARTS
PROGRAMME AT YOUR SCHOOL. OUTLINE ANY FIVE ACTIVITIES FOCUSSING ON THE THEME, “CHILD
LABOUR” WHICH THE PUPILS WILL PRESENT ON THE OCCASION.

 Songs with messages on child labour.

 Instrumental music related to the theme.
 Dramatized/creative dances with relevant messages.
 Painting reflecting the theme.
 Drawings depicting the theme of child labour.
 Posters made to highlight messages on the theme.
 Modelling/sculpture works on the theme.
 Plays/skits on the theme.

EDUCATION IN KENYA SHOULD PROMOTE INDIVIDUAL DEVELOPMENT AND SELF-FULFILMENT.

SUGGEST FIVE WAYS IN WHICH CREATIVE ARTS AS A SUBJECT WOULD CONTRIBUTE TO THE
ACHIVEMENT OF THIS GOAL.

 Provides opportunities for self-expressions.

 Provides opportunities for display of individual talents.
 Moulds the character of the individual.
 Promotes interaction between various individuals.
 Promotes interactions between groups.

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 Facilitates acquisition of various skills.

STATE FIVE WAYS IN WHICH SOUND AND VISUAL DISPLAYS FACILITATES COMMUNICATION OF
MESSAGES IN AN AFRICAN TRADITIONAL DANCE.

 Costumes -
i. Colors enhance the aesthetic values.
ii. Displays cultural identity.
iii. Beauty/attract, capture attention of audience.
 Masks – give or disguise the identity of the performer.
 Backdrops – tell the story in pictorial form.
 Song melodies and rhythm are thematic.
 Sound from musical instruments characterize the cultural musical idiom.
 Decorations and designs on musical instruments symbolize cultural values.
 Dance steps express intrinsic values as well as cultural messages.
 Decorations display cultural values.
 Stylistic movements for identifying ethnic groups.

STATE ANY FIVE FACTORS THAT’S INFLUENCE SOUND PRODUCTION ON A DRUM.

 Whether single or double headed.

 Material used in construction.
 Shape of the instrument.
 Tunning (tension of the membrane)
 Way it is played/ beaten/ stuck/ expertise.
 Thickness of membrane.
 Size of the instrument.
 Section of the head (membrane) stuck.
 Muting the membrane.

NAME ANY TEN OCCASIONS DURING WHICH AFRICAN SONGS ARE TRADITIONALLY PERFORMED.

 Childbirth.
 Harvest thanksgiving.
 Funerals.
 Weddings.
 Digging/ planting/ weeding.

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 Beer parties.
 Tending to animals.
 Prayer/ worship.
 Courtship.
 Child naming.
 Circumcision.
 Sport/ bull fighting.

ETHNIC NAME OF DANCE OCCASION PERFORMERS COSTUMES ACCOMPANIMENT

GROUP ARTEFACTS
Luhya Isukuti Marriage Men and Sisal skirts Isukuti dreams
(Isukha, Funeral women Head gear Horn(Olwika)
Tiriki,Idakho,Maragoli) Harvest Boys and girls Metal ring
Entertainment
Shimambo Funeral of a Men and As above
(Isukuti) middle aged women
person
Shilembe Funeral of an Men and
elderly person women
Shiriri Entertainment Boys and girls Shiriri(fiddle)
Metal rings
Bukhulu Circumcision Boys and Leaves, Metal rings
Khungusa/ men twigs, Wooden planks
Masambu beads,
Khung’ulula animal skins
Khusenalirova
Nunyalwe
Ndakhunyaga
Inusu goi sevule
Shialukhu
Hegoyo
Siayayo
khurache
Kumaboeka Entertainment Men and Sisal skirts Litungu’
(Bukusu) during women/ Chisasi,
celebrations Boys and girls Chimbengele,
Shiriri
Owaro (samia, Entertainment Women and Sisal skirts Peke, endeke
Bunyala) girls (Owaro) (jingles)
sickles

ETHNIC NAME OF OCCASION PERFORMERS COSTUMES ACCOMPANIMENT

GROUP DANCE ARTEFACTS
Gikuyu Morobo Singing games Children Stones
Cucu and dances Tin rattles

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Kibuiya Jingles
Nguthia
Ngucu

Mumburo Circumcision Boys Skins Leg rattles

Muthuu Calabashes
Irua Sticks
Thaage Leaves
Urigu wa
airitu
Vatuumo
Nguru
Waine
Kibaata

Gicukia Initiates man Boys and girls Ochre, ostrich Leg rattles
Mugoiyo hood dance as feathers
Mucungwa above but the As above
Njukia fire at night
Harvest
After
mucungwa

Nduumo Entertainment Girls only Necklaces,

Weru As above As above beads
Ihindi rimwe
Kimoto As above As above
Urathi
Gitiiro
Kiriro Marriage after Married
Ndarama marriage women only
Muthunguci Entertainment Girls Drum
Mwomboko As above One man
Entertainment dance Accordion and
Old karingaringa
men/women
As above






ETHNIC NAME OF OCCASION PERFORMERS COSTUMES ACCOMPANIMENT

GROUP DANCE ARTEFACTS
Meru Kiguru Entertainment Boys and girls Sticks Jingles

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Ntiru Competition Uncircumcised Beads
Nguri ya boys Drums
Magaru Entertainment Masks Drums/jingles
Mbunju Initiation Uncircumcised Skins
Kigaru Circumcision men Horns/sticks
Renta Entertainment Married
women
Men and
women

Embu Mukinyo Entertainment Men and Skins and Drums, jingles

Muno As above women shields
Kwanyi As above As above
Mwinjiro As above Men only
As above Head gear Drums

Nandi Ngelem Singing game Children

Chepkongo Initiation Girls/women
and Spears
youngmen Spears Horn
Chemelil War dance Men
Cheptilet Beer party Men/women

Maasai Eunoto/ Ceremonial Men Ochre skins Horn (emouo)

Enkipeata Spears, clubs
Necklaces

Turkana Lokilel Entertainment Boys and girls Jingles

(ng’ichoroi)

Somali
Hella Entertainment Boys and girls Drum
Saara moya Entertainment Boys and girls Conch shell
Barabul Marriage Women/girls Drum
Saaar luget Entertainment Men and
women

ETHN NAME OF OCCASION PERFORM COSTUMES ACCOMPANI

IC DANCE ERS ARTEFACTS MENT
GRO
UP
Akam Kilumi Condemni Married Flywhisk Drums and
ba Nzula kiveve/kilui ng women whistles
Witchcraft Men and Cloth As above
Entertain girls materia As above
ment Men and

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Entertain women of
ment middle
age
Taita Kishawi/wura Mwari Men and Beads,cloth Nzuga
Kinyandi/ ceremony women skins fibres (jingles)
Kidonga Girls boards
Kighimbi initiation
Nderi ya yumbe Girls and
As above women Nzuga
As above As above
Kukungoc
hela
ceremony
Kuayika circumcisi Boys and
on men
Gonda Entertain Boys and Beads and Nzuga,pestle
ment girls bangles and mortar
whistles

Mchikicha As above Girls Leaves

Msondo “ Men and Drums,rings
Mwaguna “ women
Yombo “ Men only Drums
Pepo(ngoma,jini,msololo,mwashishilia, “
mwanzindika)
Kuria Ibirandi(isururu) Marriage Boys,girls, Skins Ibiranda-
Embegete/ men gourd
Egetemo As above Boys and Wooden Drums
girls blocks,
Induru Marriage Boys and Beads Induru-gourd
Isubo Marriage girls Esegere-
Ekegogo Marriage Women gourd
Men and Ekekogo
women

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ETHNIC NAME OF OCCASION PERFORMERS COSTUMES ACCOMPANIMENT
GROUP DANCE ARTEFACTS
Mijikenda Ngoma(rabai) Celebration of Men and girls Puo,ngoli,jingles
new year
Mudzumbano Harvest Men and girls Shields Horns,jingles
(digo) Competitions Men and girls Mahando,cloth Upatu,nzuga,puo
Sengenya Entertainment Ostrich Mabumbumbu
feathers
Gonda Entertainment Men and girls Mahando,cloth Drums
(giriama) or
Mabumbumbu Entertainment Men and Drums
Mwanzele Entertainment women Uteo,metal ring
Kayamba Entertainment Men and girls As above Upatu,gong,drums
Boys and girls Uteo,bamboo
Chifundu Entertainment Men and girls Poles

Kimungwe Special(occasions) Old men and Mahando Drums,horn

(jibana) women Jingles
Whistles

Vunja Competitions Men and Mahando Kayamba,

Mkebe women Upatu
(duruma) Entertainment Girls Drums
Zandere

Hanzua Entertainment Men Kanzus Ankle jingles

(lamu) Sticks
Chakacha Marriage Women Lessos Nzomari,drums
Vuga Marriage Women Robes,buibui Horns

Swahili Lelemama Circumcision Women Band

Chakacha Entertainment Virgin girls
Taarabu Entertainment Men and
women
Orma Hinesse Entertainment Girls only or
both boys
and girls

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ETHNI NAME OF OCCASION PERFORMER COSTUMES ACCOMPANIMENT
C DANCE S ARTEFACTS
GROU
P
Gusii Ribina Harvest Married Skins Horns
Circumcision women Chinchinjiri(jingles
Chesibone/kameg Circumcision Boys and Earings )
a girls Chinchinjiri
Girls only
Risiga Communal Men and Obokano and
work women ong’eng’o

Entabanana Entertainment Men and Obokano

Mayenga / women
Sungusia Competitions
Chigichia Young
Okoiyeria Young and
Amareko old

Luo Ramogi Celebrations Men Ostrich feathers Bul(drums)

Dodo Entertainment Women and Sisal skirts Peke,gara(jigles)

Tigo / girls (owalo),beads,fly and drum-kalapala
Bodi Beer parties/ whisk and head
Peke/ And marriage gear
Owalo ceremonies Nyatiti,gara
Otenga Men and head Orutu,oduong
Celebrations women gear,gown,fly sanduk
Okeng’o whisk Drums and sticks
Courting Boys and sisal skirts
girls beads and hats

Ngaga Entertainment Old men Spears/shields Gara/(jingles)

Tero buru Funeral and Men and Sisal skirts, Tung(horn)

burial women gown,spears,head Flutes,drums
gear,fly Gara
whisk,clubs,shield
s

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ETHNIC NAME OF OCCASION PERFORMERS COSTUMES ACCOMPANIMENT
GROUP DANCE ARTEFACTS
Teso Epunyas Enhuming of Men and Atenuso
remains of women
the dead
Akisuk Beer parties, Men and Head gears Atenuso
Birth of twins women Auleru
Esimane

Gusii Embegete Marriage Boys and girls Egetemo and

embegete

Luo Yongo Beer parties The elderly

MUSIC DEPARTMENT

AFRICAN TRADITIONAL DANCES OF KENYA

DANCE COMMUNITY INTRUMENT(S) COSTUME OCCASION GENDER

1. Karnabeka Bukusu Litungu Men
Chimbegele &women
(wooden box)
2. Vukhulu Tiriki Opened and closed Dark circumcision Men &
wooden boxes,sticks brown women
skins,
woven
sisal
masks, thin
bamboo
sticks
3. Upunya Teso Efunibu, Harvest Men &
indonyi,atenusu;jingles women
Adult
members
of the
clan
4. Chemiligi Nandi Spears,shields,whistles Warriors Men&
dance girls
5. Sisimo Kipsigis Sticks Ornaments During Women
drought, &
Before sunset children

6. Chepketilet Kalenjin Ornaments Beer parties Men

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7. Luget Maasai Spears, Before Men
clubs, warriors went
swords to raid

8. Mwari,Waura Taita Ankle bells,board Initiation for Women

hit by staves girls

9. Kishawi Taita Mterego(board) Beads Girls marriage Men

Stave(malik) Lessos &women
Jungles,horn
10. Mkonde Taita Drums,sticks Boys
& girls
11. Mwanzindika Taita Bumbumbu Inviting rain Men
(pepo) &women

12. Gonda Taita Jingles,wooden staves In moonlight Boys &

girls

13. Msondo/mshond Taita Mshondo For Men

o Mijikenda Drums entertainment &women
Mwaribe

DANCE COMMUNITY INTRUMENT(S) COSTUME OCCASION GENDER

14. Sengenya Digo Chapuo Feathers Entertainment Men &
Mchirima,bumbumbu, And rain women
Chivoti,upatsu,nzumari making

15. Madzumbano Digo Jingles Harvest Men and

Horns (Gunda) women
16. Kiringongo Durumas Marimba Marriage Men,
Rabai Kayamba Funeral women
Giriama Metal rings Gatherings and youth
Whistles Harvest
Horn (Gunda)
Chivoti

17. Chella Rabai Manyanga, Upatsu, Beads,necklaces, Weddings Men and

Duruma Flute, Leg rattles Ostrich feathers Entertainment women
and youth
18. Chakacha Lamu wedding women

19. Hella Somali Drum, couch shell In praise of Boys and

camels girls
20. Kilumi Kamba Kithembe, mukanda, At a home of Married
whistle a witch or of a women of
woman any age
possessed by
evil spirits
Harvest

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21. Kiveve Kamba whistles Beads Boys and

girls
22. Ndumo Kikuyu Clapping and shaking Beads Circumcision Women
the palms of hands of girls
23. Gitiro Kikuyu Necklaces Entertainment Old
And women
enjoyment
Marriage
24. Mwomboko Kikuyu Accordian Courtship Unmarried
Karing’aring’a dance teenagers,
This time
even
married

DANCE COMMUNITY INTRUMENT(S) COSTUME OCCASION GENDER

25. Dodo Luo Gara,Peke (sistums) Sisal skirts Marriage, beer women
parties
26. Chechemek Giriama Donga (shakers),
o Chivoti , kiringonga
(xylophone) marimba
27. Entabanana Gusii Obokano Paint/etago Harvest Men &
Chinchingiri Dark coloured skins Beer parties women

28. Embegete Kuria Embegete Boys &

Egetomo, drums girls
29. Tero buru Luo Bul drum Animal skins, Funeral “Men”
(bul dance) Oporo ostrich leathers, Entertainment
Gara (leg-rattles) sisal skirts around
the waist
30. Okong’o Luo Drums & sticks Evening beer Men &
parties women

31. Yong’o Luo Beer parties Elderly

men &
women

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32. Oteng’a Luo Bul drum Animal skins, Funeral Men &
Oporo(horn) ostrich,leathers,sisal entertainment women
Gara(leg-rattles) skirts around the
waist

33. Owalo or Luo Drums Sisal skirts Entertainment Married

Tigo women
34. Ramogi Luo Jingles, Horns(Abu) Social gathering Men
Bul(drums) and
boys
35. Isukuti(Isugu Luhya Sukuti drums set of 3 Sisal skirts Entertainment
di) sukuti drums Funerals
I. Sukuti Chief elections
Isacha(isaga(husb Wrestling
and) Sporting
II. Isukuti activities
ikhasi(wife) Village along
III. Isukuti the road
mwana(son)
Horn
Ring(Ekengele)
36. Shimambo Luhya Isukuti Entertainment
Drums and consoling
the bereaved.
37. Shilemba(E) Luhya Isukuti drums Shrubs carry along Burial of elderly Both
Ingoma, Oluika(Horn) leaves and twigs married men men
Limika(trumpet) and
women
of any
age
group

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