ROSE A OMOLO - Academia.edu (original) (raw)
Papers by ROSE A OMOLO
ISME Commission on Research, 2014
African music is an intrinsic part of some social event or occasion. The music is a communal func... more African music is an intrinsic part of some social event or occasion. The music is a communal functional expression closely bound up with daily human living and activities. Performance practice of African music is governed by function and context association, rule and procedure that determine how the music should be performed. These underpinnings provide that the effectiveness of African songs depend on the context in which the music is both heard and performed. The impact of globalisation has made the world become a small place, bridged and linked by modern technology. Musics of the world, both local and global, are available through the mass media. Many of such musics are used for teaching purposes outside their cultural contexts of performances. With these principles and belief systems un- derlying the practice of African music, how should the music be treated, transmitted/handed down in its transferred context? An attempt has been made to answer this question. The African percept...
A research project submitted in partial fulfilment of the requirements for the degree of master o... more A research project submitted in partial fulfilment of the requirements for the degree of master of music, BV355.E5O4
Abstract. African music is an intrinsic part of some social event or occasion. The music is a com... more Abstract. African music is an intrinsic part of some social event or occasion. The music is a communal functional expression closely bound up with daily human living and activities. Performance practice of African music is governed by function and context association, rule and procedure that determine how the music should be performed. These underpinnings provide that the effectiveness of African songs depend on the context in which the music is both heard and performed. The impact of globalisation has made the world become a small place, bridged and linked by modern technology. Musics of the world, both local and global, are available through the mass media. Many of such musics are used for teaching purposes outside their cultural contexts of performances. With these principles and belief systems underlying the practice of African music, how should the music be treated, transmitted/handed down in its transferred context? An attempt has been made to answer this question. The African...
African music is an intrinsic part of some social event or occasion. The music is a communalfunct... more African music is an intrinsic part of some social event or occasion. The music is a communalfunctional expression closely bound up with daily human living and activities. Performance practice ofAfrican music is governed by function and context association, rule and procedure that determine howthe music should be performed. These underpinnings provide that the effectiveness of African songsdepend on the context in which the music is both heard and performed. The impact of globalisation hasmade the world become a small place, bridged and linked by modern technology. Musics of the world,both local and global, are available through the mass media. Many of such musics are used for teachingpurposes outside their cultural contexts of performances. With these principles and belief systems underlyingthe practice of African music, how should the music be treated, transmitted/handed down in itstransferred context? An attempt has been made to answer this question. The African perception on thel...
This paper examines the modalities and logistics of refocusing indigenous music in formal classro... more This paper examines the modalities and logistics of refocusing indigenous music in formal classroom practice in Kenya in a bid to create partnership between the community and the school. The need to refocus indigenous music for use in classroom stems from the fact that the childhood and youth when the individual traditionally learnt their cultural music practices is now spent in school hence, the need to take this important aspect of music to school to ensure its preservation among the school going youth in the academy. More so, the breakdown in traditional systems of cultural transmission among modernized nations on the continent of Africa has resulted in much of its traditional music being lost or severely misinterpreted. With the urbanized children not having their working parents to induct them into indigenous musical life, the need to take indigenous music to the classroom is more urgent and crucial. But introducing indigenous music in the classroom alone is not enough to deter...
Adopting a qualitative approach, videotaped extracts of lessons on composition and improvisation ... more Adopting a qualitative approach, videotaped extracts of lessons on composition and improvisation with pupils aged 11-14 were used as a basis for discussion during in-depth interviews with six teachers. The investigation was divided into four stages: (1) examination of the meanings attached to the word ?creativity? and review of previous studies, after which a four-fold framework for researching teachers? perception of creativity in music education was put forward (Pupil-Environment-Process-Product); (2) discussion of the methodological assumptions underpinning the research, including issues relating to data collection and analysis; (3) examination of findings, and (4) implications. Two of the three original research questions are considered in this paper focusing on (a) how participants characterized creativity in their discourse, and (b) the differences of their perceptions compared with the literature. Twenty-eight categories and subcategories that complemented the four-fold frame...
Journal of the Musical Arts in Africa
African music scholars are currently grappling with the challenges of refocusing indigenous music... more African music scholars are currently grappling with the challenges of refocusing indigenous musical arts for classroom practice, and developing an Africa-sensed musical arts curricula that use culturally appropriate pedagogies derived from viable theoretical, philosophical and performance practices of indigenous music. The African spirit of humanity encourages participation by all in a bid to bond participants in a performative learning situation. The philosophy framing an assessment model should derive from the humanity ideology of musical arts education indigenous to a culture area. This model should enable and recognize demonstration of innate attributes and differentiated but compatible skills of every participant in the learning activity. The rigid assessment yardsticks transferred from Western elitist music education practice, and used in the assessment of African musical arts compromise this innate musicality. In this paper, we advocate assessment initiatives that should advance the humanity virtues of indigenous intellectual and praxial paradigms as well as epistemological logic into contemporary realities, and illustrate with two differently rationalized examples. Keywords and definitions: Assessment (determination of merit); Cultural expert (grounded exponent of a culture"s epistemological principles); Ensemble Thematic Cycle ETC, (the recycled , collective ensemble-theme framework for spontaneously composing a piece of music); Humanity purpose (utilitarian/humanitarian objectives and benefits); Humanity conscience (devoted to what is virtuous and humane) Ignorant expert (posing and imposing as an authority in a subject a person has no cognitive and actual intellectual grounding); Musical arts (a singular term for the conceptual synthesis of music, dance, drama and costume); Soft science (potency of intangible designs to systematically effectuate measurable tangible outcomes)
Boletin De Investigacion Educativo Musical, 2007
Bulletin of the Council For Research in Music Education, 2005
ISME Commission on Research, 2014
African music is an intrinsic part of some social event or occasion. The music is a communal func... more African music is an intrinsic part of some social event or occasion. The music is a communal functional expression closely bound up with daily human living and activities. Performance practice of African music is governed by function and context association, rule and procedure that determine how the music should be performed. These underpinnings provide that the effectiveness of African songs depend on the context in which the music is both heard and performed. The impact of globalisation has made the world become a small place, bridged and linked by modern technology. Musics of the world, both local and global, are available through the mass media. Many of such musics are used for teaching purposes outside their cultural contexts of performances. With these principles and belief systems un- derlying the practice of African music, how should the music be treated, transmitted/handed down in its transferred context? An attempt has been made to answer this question. The African percept...
A research project submitted in partial fulfilment of the requirements for the degree of master o... more A research project submitted in partial fulfilment of the requirements for the degree of master of music, BV355.E5O4
Abstract. African music is an intrinsic part of some social event or occasion. The music is a com... more Abstract. African music is an intrinsic part of some social event or occasion. The music is a communal functional expression closely bound up with daily human living and activities. Performance practice of African music is governed by function and context association, rule and procedure that determine how the music should be performed. These underpinnings provide that the effectiveness of African songs depend on the context in which the music is both heard and performed. The impact of globalisation has made the world become a small place, bridged and linked by modern technology. Musics of the world, both local and global, are available through the mass media. Many of such musics are used for teaching purposes outside their cultural contexts of performances. With these principles and belief systems underlying the practice of African music, how should the music be treated, transmitted/handed down in its transferred context? An attempt has been made to answer this question. The African...
African music is an intrinsic part of some social event or occasion. The music is a communalfunct... more African music is an intrinsic part of some social event or occasion. The music is a communalfunctional expression closely bound up with daily human living and activities. Performance practice ofAfrican music is governed by function and context association, rule and procedure that determine howthe music should be performed. These underpinnings provide that the effectiveness of African songsdepend on the context in which the music is both heard and performed. The impact of globalisation hasmade the world become a small place, bridged and linked by modern technology. Musics of the world,both local and global, are available through the mass media. Many of such musics are used for teachingpurposes outside their cultural contexts of performances. With these principles and belief systems underlyingthe practice of African music, how should the music be treated, transmitted/handed down in itstransferred context? An attempt has been made to answer this question. The African perception on thel...
This paper examines the modalities and logistics of refocusing indigenous music in formal classro... more This paper examines the modalities and logistics of refocusing indigenous music in formal classroom practice in Kenya in a bid to create partnership between the community and the school. The need to refocus indigenous music for use in classroom stems from the fact that the childhood and youth when the individual traditionally learnt their cultural music practices is now spent in school hence, the need to take this important aspect of music to school to ensure its preservation among the school going youth in the academy. More so, the breakdown in traditional systems of cultural transmission among modernized nations on the continent of Africa has resulted in much of its traditional music being lost or severely misinterpreted. With the urbanized children not having their working parents to induct them into indigenous musical life, the need to take indigenous music to the classroom is more urgent and crucial. But introducing indigenous music in the classroom alone is not enough to deter...
Adopting a qualitative approach, videotaped extracts of lessons on composition and improvisation ... more Adopting a qualitative approach, videotaped extracts of lessons on composition and improvisation with pupils aged 11-14 were used as a basis for discussion during in-depth interviews with six teachers. The investigation was divided into four stages: (1) examination of the meanings attached to the word ?creativity? and review of previous studies, after which a four-fold framework for researching teachers? perception of creativity in music education was put forward (Pupil-Environment-Process-Product); (2) discussion of the methodological assumptions underpinning the research, including issues relating to data collection and analysis; (3) examination of findings, and (4) implications. Two of the three original research questions are considered in this paper focusing on (a) how participants characterized creativity in their discourse, and (b) the differences of their perceptions compared with the literature. Twenty-eight categories and subcategories that complemented the four-fold frame...
Journal of the Musical Arts in Africa
African music scholars are currently grappling with the challenges of refocusing indigenous music... more African music scholars are currently grappling with the challenges of refocusing indigenous musical arts for classroom practice, and developing an Africa-sensed musical arts curricula that use culturally appropriate pedagogies derived from viable theoretical, philosophical and performance practices of indigenous music. The African spirit of humanity encourages participation by all in a bid to bond participants in a performative learning situation. The philosophy framing an assessment model should derive from the humanity ideology of musical arts education indigenous to a culture area. This model should enable and recognize demonstration of innate attributes and differentiated but compatible skills of every participant in the learning activity. The rigid assessment yardsticks transferred from Western elitist music education practice, and used in the assessment of African musical arts compromise this innate musicality. In this paper, we advocate assessment initiatives that should advance the humanity virtues of indigenous intellectual and praxial paradigms as well as epistemological logic into contemporary realities, and illustrate with two differently rationalized examples. Keywords and definitions: Assessment (determination of merit); Cultural expert (grounded exponent of a culture"s epistemological principles); Ensemble Thematic Cycle ETC, (the recycled , collective ensemble-theme framework for spontaneously composing a piece of music); Humanity purpose (utilitarian/humanitarian objectives and benefits); Humanity conscience (devoted to what is virtuous and humane) Ignorant expert (posing and imposing as an authority in a subject a person has no cognitive and actual intellectual grounding); Musical arts (a singular term for the conceptual synthesis of music, dance, drama and costume); Soft science (potency of intangible designs to systematically effectuate measurable tangible outcomes)
Boletin De Investigacion Educativo Musical, 2007
Bulletin of the Council For Research in Music Education, 2005