| dc.description.abstract | Historically, folk music has acquired different meanings, interpretations, and identities as
it is recontextualized through translation. For instance, folk music has been associated
with rural regions in Kenya. The perception stemmed from British colonialists who
regarded rural districts as custodians of indigenous traditions and urban areas as
‘detribalized.’ Urban popular genres were perceived as foreign, though rooted in
indigenous styles. Currently, musicians in the city subvert these stereotypes by creating
and performing traditional music. On this premise, I interrogate folk music practice in
Nairobi, focusing on how it is translated through popular genres. Compositional
materials are also gathered from Nairobi to create a modern suite, Ĩromba, establishing
that the city is not ‘detribalized’ but upholds traditions like rural regions. I made
inquiries to enable me to (i) analyze popular styles that are based on folk music genres in
contemporary urban Kenya, (ii) identify specific folk music styles, elements, and
techniques used to create folk-based music in the city, (iii) identify compositional
elements and studio production techniques used in creating folk-based styles that are
considered intercultural, and (iv) compose Ĩromba suite in a prelude and three
movements. Guided by Homi Bhabha’s (1994) Third space theory and models by Brian
Schrag (2013), Timothy Rice (2014), Akin Euba and Cynthia Kimberlin (1995), the
study was based on qualitative ethnographic and artistic research methods. I sampled 13
producers, 13 musicians, and 6 bands through purposive and snowball techniques.
Interview schedules, focus group discussion guides, and observation protocols were used
to collect data, which was analyzed using thematic and narrative approaches. The
findings indicated that musicians in Nairobi incorporate indigenous melodies, rhythms,
instruments, and sound effects in their music. They also compose in Zilizopendwa styles
that are based on indigenous genres. I established that intercultural music interactions
and creations blur societal boundaries by employing elements from diverse cultures.
These practices were subsequently illustrated in Ĩromba. Ĩromba utilized studio
production techniques, traditional and classical instruments, and other elements from
Western classical music, Kenyan indigenous and popular styles, and Arabic and Indian
musics. I concluded that recontextualizing folk music genres through fusion preserves
and develops them in contemporary spaces. The study offers new perspectives on
creating and reinterpreting traditions through fusion within urban settings and composing
and analyzing intercultural music composition. Consequently, it contributes to fluidity,
hybridity, folk, popular, and intercultural music studies. The study recommended the
establishment of symposiums to share and learn composition and production techniques
used in creating folk-based styles. It also proposed that the music education academy
should include active musicians in practice-based curriculums to give learners a
comprehensive perspective on composing, producing, and performing contemporary
intercultural folk musics. | en_US |
