barz2004

Barz, Gregory: Music in East Africa. Experiencing Music, Expressing Culture. New York, N.Y. & Oxford: Oxford University Press, 2004. 139 p. & CD ISBN 978-0-19-514152-8

CONTENTS

Foreword xi
Preface xiii
CD Track List xvii

1. Heating Up!
East Africa 1
Traditional Music Performance: The Example of Ngoma 4
What is “Music” in East Africa? 5
Greetings 8
Conclusion 14

2. Traditional Performances in Two Villages and a Town
Introduction 16
Case Study #1: Nyanhugi Village, Sukumaland, Tanzania 18
Case Study #2: Bugwere Village, Busoga Region,
Eastern Uganda 25
Case Study #3: Kisumu Town, Western Kenya 33
Musical Transcription 36
Gender and Traditional Music Performance in East Africa 37
Conclusion 38

3. Fostering Social Cohesion: Competition and Traditional Musical Performance
Introduction: Competition as Social Cohesion 40
Case Study #1: Bulabo in Sukumaland, Tanzania 41
Bufumu 47
Bagaalu and Bagiika Dance Societies 47
Samba 48
Changes and Adaptation in Bulabo 49
Case Study #2: Choir Competitions in Dar es Salaam 52
Vignette 1: The Initial Evangelical Encounter 53
Vignette 2: The Emergence of Tanzanian Voices 55
Vignette 3: A Postcolonial Moment 56
Conclusion 58

4. Individuals in East African Musical Worlds:
Gideon Mdegella and Centurio Balikoowa
Introduction 59
Vignette 1: Gideon Mdegella 62
Vignette 2: Centurio Balikoowa 63
Communities and Musical Specialists 63
Gideon Mdegella: “Mwalimu” 64
Mwalimu wa Kwaya: Ritual-Musical Specialists in the Tanzanian Lutheran Church 65
“I Am Able to See Very Far, but I Am Unable to Reach There” 66
Mdegella and “First-Class Music” 75
Centurio Balikoowa 75
Background 76
Musical Instruments 78
Endere (Flute) 78
Endingidi (Tubefiddle)   81
Construction of the Endingidi 82
Ntongooli (Bowl Lyre) 84
Personal History 86
Conclusion 88

5. Situating Traditional Music within Modernity
Introduction 89
Vignette: Anthems and Identity 90
Case Study #1: Mu Kkubo Ery ‘Omusaalaba 101
Basic Tenets of Kiganda Traditional Music 102
Issue of Timbre 102
Drumming 104
Issue of Interlocking Patterns 106
Case Study #2: “The Roots of Benga” 108
D. O. Misiani, the “King” of Benga 111
Conclusion: Popular versus Traditional – “Modernity Happened!” 114

6. Cooling Down!
Introduction 118
Traditional Music and the Interrelation of the Arts in East Africa 118

Glossary 124
Resources 126
Index 137

CD Track List

01
Greetings in the Lulamoogi/Lugwere dialect of the Lutenga language of Busoga, eastern Uganda, “spoken” by members of the Bakuseka Majja Women’s Group in Kibaale village, 1999. Used by permission of Centurio Balikoowa.
02 & 03
Filulu performance by Charles Bungu in Nyanhugi village, Sukumaland, Tanzania, 1999. Used by permission of Charles Bungu.
04
Excerpt of Bugóbogóbo by the Bana Sesilia Group of the Bujora Cultural Centre, Bujora, Tanzania, 1999. Used by permission of Charles Mahenda, Bujora Cultural Center.
05
“Muliranwa” [“My Neighbor”], embaire performance by the Ekidha Tobana Kabaliga Group in Bugwere village, Uganda 1999. Used by permission of Centurio Balikoowa.
06
Excerpt, Chakacha, performed by the Horizon Players Group and the Choir from the Muslim Secondary School, Kisumu, Western Kenya. Used by permission of Lawrence Chiteri.
07
Excerpt illustrating the processional from the church at Bujora, Sukumaland, down the mountain to the Bulabo ceremonial stadium in Kisesa, 1999. Used by permission of Gregory Barz.
08
An example of wigaashe recorded at the Bulabo competition, 1999. Used by permission of Charles Mahenda, Bujora Cultural Center.
09
“Mahali ni Pazuri” [“This Place is Beautiful”], second verse, sung at a Mashindano ya Kwaya held at Kariakoo Lutheran Church in Dar es Salaam, 1993. Used by permission of Gideon Mdegella, Lutheran Choir Community Leader.
10
Wimbo wa KiHehe, a KiHehe melody, sung by the choir of the Mikocheni Anglican Church at a Mashindano ya Kwaya held at St. Alban’s Anglican Church, Dar es Salaam, 1993. Used by permission of Gideon Mdegella, Lutheran Choir Community Leader.
11
“Sikieni Neno” [“Hear the Word”], a WaGogo melody, sung by the Kwaya ya Vijana of Kariakoo Lutheran Church, Dar es Salaam, 1993. Used by permission of Erneza Madeghe, Kariakoo, Lutheran church.
12
Author’s interview with Gideon Mdegella, mwalimu, Kwaya ya Upendo, Azania Front Lutheran Cathedral, Dar es Salaam, 1994. Used by permission of Gideon Mdegella.
13
” ‘Sikiliza,’ Asema Bwana, ” Gideon Mdegella, composer and conductor, recording of a rehearsal of Kwaya ya Upendo, Azania Front Lutheran Cathedral, Dar es Salaam, 1994. Used by permission of Gideon Mdegella.
14
Tuning demonstration on the endere (flute), performed by Centurio Balikoowa, 1999. Used by permission of Centurio Balikoowa.
15
“Oo samba bambalele,” a demonstration on the short endere (flute), performed by Centurio Balikoowa, 1999. Used by permission of Centurio Balikoowa.
16
Demonstration on the long endere (flute), performed by Centurio Balikoowa, 1999. Used by permission of Centurio Balikoowa.
17
Demonstration of the scale used on the endingidi (tubefiddle), performed by Centurio Balikoowa, 1999. Used by permission of Centurio Balikoowa.
18
Endingidi (tubefiddle) medley, performed by Centurio Balikoowa and Gregory Barz (“Adimudong’,” “Twalamatagange,” and a piece from the Central Region), 1999. Used by permission of Centurio
Balikoowa and Gregory Barz.
19
Demonstration of elaboration on the endingidi (tubefiddle), performed by Centurio Balikoowa,  1999. Used by permission of Centurio Balikoowa.
20
Demonstration of the tuning of the ntongooli (bowl lyre), performed by Centurio Balikoowa, 1999. Used by permission of Centurio Balikoowa.
21
Demonstration of the ntongooli (bowl lyre), performed by Centurio Balikoowa, 1999. Used by permission of Centurio Balikoowa.
22
Demonstration of tuning of “Twalamatagange” on ntongooli (bowl lyre) and endingidi, performed by Centurio Balikoowa and Kiria Moses, 1999. Used by permission of Centurio Balikoowa.
23
Medley: Performance of the Ugandan National Anthem, “Oluyimba Lwe’eggwanga (Ebbona lya Afirika)” [“The Pearl of Africa”], the Buganda Anthem, “Ekitiibwa kya Buganda” [“The Pride of Buganda”], and the Africa House Anthem, “Marching Along,” per¬formed by students at Makerere College School, 2002. Used by per¬mission of Kitogo George Ndugwa, leader.
24
Demonstration of endingidi playing, performed by Kiria Moses, endingidi and voice, 1999. Used by permission of Centurio Balikoowa (for Kiria Moses).
25
Blair String Quartet demonstrates the timbre of endingidi in “Mu Kkubo Ery “Omusaalaba.” Used by permission of Mark Wait, Blair School of Music.
26
Demonstration of the baakisimba drum, the rhythm associated with Baakisimba, performed by Gregory Barz, 1999. Used by permission of Gregory Barz.
27
Blair String Quartet demonstrates the drumming in “Mu Kkubo Ery ‘Omusaalaba.” Used by permission of Mark Wait, Blair School of Music.
28
Demonstration of Omunazi, Omwawuzi, and Omukonezi parts played by Kiria Moses, Waiswa, and Centurio Balikoowa, 1999. Used by permission of Centurio Balikoowa (for himself, Waiswa, and Kiria Moses).
29
The Blair String Quartet demonstrates interlocking parts in “Mu Kkubo Ery ‘Omusaalaba.” Used by permission of Mark Wait, Blair School of Music.
30
Andericus Apondi, nyatiti, demonstrates the Benga guitar style on nyatiti, Kisumu, Kenya. Used by permission of Peter Nyamenya, Kisumu Museum, National Museums of Kenya.
31
“Jo Piny,” performed by Kabila Klan, Kisumu, Kenya. Used by permission of Lawrence Oyuga, director.
32
“Kumbaya,” performed by the congregation of the Power of Jesus Around the World Church, Kisumu, Kenya. Used by permission of Peter Nyamenya, Kisumu Museum, National Museums of Kenya.
33
Foreign terms introduced in this volume, pronounced by the author.