Berklee College of Music

Developing A Curriculum For A
Contemporary Music(Jazz)Performance
Undergraduate Program in Uganda

Submitted in Partial Fulfilment of the Degree of
Master of Music in Contemporary Performance (Production Concentration)

Advisor: Enric Alberich

by Chris Weigers

Valencia Campus, Spain
July, 2018

i

Table of Contents

Abstract

iv

Guiding Principles

vi

1. A Philosophical Preface to Music and, by extension, Music Education.

1

2. Stated Goal

2

3. Personal History relevant to this Project

6

4. Proposal

11

5. Uganda Historical Background

13

6. Objective and Sub-Objective

24

7. Methodology

25

8. Justification

26

9. School Environment

45

10. Project - Uganda Music Curriculum

49

11. General Requirements

50

12. Uganda Contemporary Music(Jazz) Performance Curriculum

52

(Course Titles)

ii

13. Suggested Course Load by Year and Term

55

14. Expected Outcomes

60

15. Description of Courses

65

16. Professional Plan (with inclusion of M-Lisada)

117

17. Conclusion

123

Appendix A: Printed music of songs cited

130

Appendix B: multimedia used in video presentations

144

Bibliography

148

iii

Developing a Contemporary Music (Jazz) Performance Curriculum for an
Undergraduate Bachelor’s Degree Program in Uganda (abstract)

The stated goal of this Culminating Experience is to create a Contemporary
Music (Jazz) Performance curriculum designed for Uganda and that such a
program is relevant to the students who will be enrolled.
This curriculum will outline and describe courses created for the program. It
will give a sample course load by term over a three-year bachelor’s degree
program. This will be accompanied a description of expected outcomes for all
students completing the program.
Emphasis is given to the integration of traditional African music and
instruments with Western styles and instruments. This is a technical reason why
the program must be designed for use specifically in Uganda and East Africa in
general. Another factor in creating such a program will be explored in the
justification area. Here we will see how Western approaches do not always do
justice to an African reality and an indigenous approach is one whose time has
come.

Keywords: Contemporary Music, Jazz Performance, curriculum, Uganda, Africa
------------------------------------------------------------------

iv

Guiding Principles of Uganda Music School
Guiding Principles
Focus on affordable access to our music education for all
Commitment to providing a high-quality student experience
Provide a forum under which our students may realise their artistic,
musical, and career potential
Be open to an ever-evolving world with regard to all aspects of a
sustainable educational experience
Have retention, practical knowledge, graduation, and a community
bond be integral to both school planning and our student’s lives
Employ technology and innovation wherever it enhances a musical
education

Infrastructure
Continuously seek to upgrade our technology, sound quality,
Instruments, and all physical infrastructure
Complete our on-campus Performance Center
Have an open, fresh air environment that enhances the life of both
students and staff
Encourage the continuation of our greater community for all staff,
students, families and alumni
Seek growth through partnerships, transparency, and accountability
to donor and all supporters

Inclusion
Continue to provide an educational model that is welcoming to all
students regardless of tribe, religion, nationality, ethnicity, gender, or
orientation
Sustained inclusiveness through students and staff from all backgrounds
or country of origin
Our campus will serve as both an educational institution and as a
community centre open to our greater community within a secure and
welcoming environment
v

Developing a Contemporary
Music(Jazz) Performance Program
for Uganda
Undergraduate Bachelors Degree

By Chris Weigers

i

1. A Philosophical Preface to Music, and, by extension, Music Education

In describing the necessities for human survival we are taught that we
require food, water, and shelter as the basics. All else can be broken down into
distinct need categories subject to the particular environment in which a group
of people live. Whereas most people inhabit areas of the world where the
weather forces them to have worn clothing it is not a necessity for survival in
man’s original home, East Africa. To the above necessities for survival I would
argue that Music join food, water, and shelter in that music is found in every
corner of the earth, in every culture, in every village, within every home. While
the human body can certainly survive without music there seems to be a
spiritual element common to all people that has conjured music of some sort
with no known exceptions.

Why is this important? The importance lies in the universal truth of what
separates humankind form the rest of the animal world. Homo sapiens at least
appear to need music in that it is ubiquitous. It is a trait that unites all ethnic
groups. Beside the fact that there is nothing of note genetically which delineates
race music is a common thread which unites humans throughout the Earth.
While music is generally believed to be a cultural construct my argument is that
it is a requisite for survival. The particular form it takes may be cultural or
related to environment as are the types of food eaten in differing regions of the
world. However, just as all humans must consume food for energy, all humans
also coalesce around music. All other activities of humans show distinct

1

accentuations or gaps. Even the concept of war, such an accepted scourge of
human endeavour, has been found to be unknown in occasional pockets of
humanity.1 Music has, therefore, a power to unite all people, however disparate
they may at first appear. While a necessity for survival it is shaped by, and finds
relevance in, the particular community where it is located.

The red dots on this map show the center of distribution of non-violent, nonwarring cultures. Some
cultures, such as Hutterites, are actually distributed widely but receive only one dot. In the
southwest U. S. there are several of these nonviolent cultures, most notably the Hopi. In northern
Europe the most familiar cultures to many American are the Norwegians and the Lapplanders (Saami).

Figure 1. NONVIOLENT AND NONWARRING CULTURES, accessed June 25, 2018,
http://www.afww.org/pdfs/AFWW_NonviolentCulturesMap.pdf

2. Stated Goal
With this in mind this paper will attempt to develop a Contemporary
Music(Jazz) Performance program that is relevant to its particular environment.
1

Michael Finkel, “The Hazda,” National Geographic, December 2009, accessed June
25, 2018, https://www.nationalgeographic.com/magazine/2009/12/hadza/

2

By definition, the word “Contemporary” refers to that which is occurring in the
present moment. However, to describe what is happening in the present one
must have some comprehension of, at the very least, the recent past. In short,
nothing, particularly in the arts, exists fully within a vacuum.

Performance directly infers that there is a public display of the skills that one
has been acquiring. To have a Performance program one will therefore assume
that an important aspect of the education of all students will be to perform in
various public settings.

The art form we are working with here is Music, though at times it may be
combined with other disciplines such as dance, drama, film, etc. The
centrepiece, however, will always be related to Music. As music is critical to life
itself it may be argued that it is not an “art form” as that term implies an activity
which is a construct that is purely intellectually based which serves no survival
functionality. While I first made the argument that music is as necessary to
survival as food and water I will further argue that, over time, it integrates with
overall culture in much the same way that all people develop their particular
cuisine. Yes, food is a necessity to survival but it may also possess an aesthetic
element that even obscures its original intent. Music is much the same; it is both
a necessity for survival and also an art form, a cultural construct based upon its
basic functionality.

How far does one travel in the past to adequately put something

3

“Contemporary” into context? It is a difficult question and can have several valid
answers. To avoid randomness this program will occasionally reference the
time period prior to 1900 but will generally use the beginning of the 20th
Century as it’s starting point.

The given technology of the time is always relevant to any discussion and I
point out that our discussion coincides roughly with the invention of the
recording medium. To that end, the music commonly entitled “Jazz” shared its
infancy with this new technological phenomenon. As a result, there appears to
be a logical starting point for a discourse about Contemporary Music as it
partnered with the technological innovations of the early 20th Century.

In an earlier paragraph mention is made that such a Contemporary Music
Performance Program should be relevant to the environment in which it will be
implemented. The environment we are exploring is centered on the East African
nation of Uganda. I have inserted the word “Jazz” into the title of the program in
deference to the fact that, in Uganda, this word is employed when describing
any group that uses a Western style drum set in its instrumentation.

Why Uganda? The simple answer is that this is where I, the author of this
paper and designer of this program, live and teach and where I will have the
opportunity to put such ideas into practice. It is also a country I have come to
know and love. An intimate knowledge and passion for the culture in which one
lives is not irrelevant. In fact, it is a contributing factor in finding connections with

4

the people one is seeking to work with, and in this instance, to educate. While
living in Uganda I have learned much about its history and culture, both from an
academic perspective and, more importantly, from an experiential
understanding. Being a teacher here has put demands on that cultural and
historical knowledge so that I can more fully relate and communicate with my
students and fellow staff members. One Side of life feeds the other.

While designed with the Ugandan reality in mind this program will always be
open to the fact that this nation is tremendously multicultural and that, through
this experience, should be rather easy to export, at the very least to
neighbouring countries such as Kenya, Tanzania, Rwanda, and Burundi and
perhaps to South Sudan or Democratic Republic of Congo.

We are all a product of our environment and our time in history. Education
is intended to inform a student body with knowledge that is both useful and
relatable to the culture within which one resides. Education always includes, to
some degree unconsciously, a context of social norms.

While in it’s ideal form educational models seek to rise above what I will
term “cultural bigotry”2 there are times where systems fall short. I will argue that,
while the days of blatant claims of artistic supremacy are in the past, there are
still vestiges of such bigotry which may be found on occasion even today within

2

“Dave(blog), “Cultural Bigotry,” Thoughts Aloud: A Haven for Sovereign Rational
Minds, accessed June 24, 2018, http://www.thoughtsaloud.com/2016/06/30/culturalbigotry/ .

5

Western music performance programs. While such realities are an aside to the
core of the project developed herein it will be discussed with some depth as a
reason or justification for contemplating the creation of a program that, while
certainly influenced greatly by long standing western music programs, will
always be grounded in the fact that this is to be implemented in Uganda for an
internationally diverse student body consisting primarily, though certainly not
exclusively, of Africans.

To this end I believe that the program must be created with Ugandan culture
and history, both musically and otherwise, taken into account. From Uganda will
spring references to other nations of the East African community and from
there, to the entire African continent. Beyond that, Africans, and this program,
are fully cognisant that we coexist within the entire world. The program will not
ignore those nations located north of the tropics or those far to the east or west.

3. Personal history relevant to this project

I hope to channel my personal life and educational experiences into creating
a program that, while aimed at a predominantly African student body, will be
relevant to all and be largely free of negative social biases. I have an
undergraduate degree from State University of New York(SUNY) College at Old
Westbury, graduate credits from SUNY Stony Brook, and graduate credits from
Shepherd University, Los Angeles, California. Having done my undergraduate
studies in New York and then started two graduate programs in The United

6

Sates as well, I have educational experience at three institutions in that country.
In addition, I have taught at the Primary and Secondary level in New York State.
And now, finishing this one year program at Berklee College of Music in
Valencia I have more experience to draw from. While this is a USA based
program, taught in English, the fact that it is located in Spain adds somewhat of
an international flavour.

In addition to this academic experience I have been a professional musician
since 1974 when I had my initial experience performing with the band for a road
company of the Broadway musical “HAIR”. I have played several thousands of
gigs and performed with hundreds of musicians since that time. I also have
extensive experience recording, composing, arranging, and producing for CD’s
both in the USA and in Uganda. The first LP I played on was released in 19803
and the most recent, which I also produced, was released in 2015, having been
recorded primarily in Uganda but mixed and mastered in New York.4 These
performances and recordings have covered a multitude of styles and have
availed me the opportunity to share such platforms with musicians such as Bob
Mintzer, Jimmy Haslip, Russell Ferrante, Robben Ford, Makanda Ken McIntyre,
Russ Freeman, John Abercrombie, Jaki Byard, Chris Palmaro, Tony Beard,
Jason Crosby, John Scarpulla, Warren Smith, Lee Finkelstein, Fred Reiter, Rob
Baracco, and Paula Atherton, among others.

3

““Lothlorien” Eponymous LP 1980. https://www.discogs.com/LothlorienLothlorien/release/5535628
4

Sabar Zibula, “The Journey,” 2015, Arusha Records 0011 CD

7

My career as a private bass instructor, on both electric and double bass,
began in 1985 and has been continuous through to 2017. I was an elementary
and high school band director and teacher in New York State for thirteen years
from 1996 - 2009. From this position I gained valuable experience teaching
flute, clarinet, saxophone, trumpet, trombone, drums, violin, viola, cello, electric
bass, and guitar. I also learned to arrange music for the inconsistent
instrumentation that I was frequently asked to accommodate. The skills
acquired over those years have proven to be very useful in Africa.

Prior to moving to Valencia, Spain I lived for nearly eight years in Kampala,
Uganda. I have taught at Kampala Music School5, a music academy, since my
fourth day in Uganda; first as a volunteer, then as a staff teacher, and later as
the Head of Jazz Department, a title which I continue to occupy. I have also
spent six years teaching at the university level at Africa Institute of Music6. At
AIM I also currently hold the position of Head Of Jazz Department which I have
done since September, 2012. These associations have given me valuable
experience teaching in Uganda.

In addition to my educational experience, both as a student and as a
teacher, my years in Uganda, with a Ugandan family and performing with

5

Teacher’s Profile, “Kampala Music School”. Accessed June 25, 2018.
http://kampalamusicschool.com/teachers-profile/ .
6

Faculty, “AIM”. Accessed June 25, 2018. http://africainstituteofmusic.com/staff/.

8

Ugandan fellow musicians, has afforded me the opportunity to understand the
locale on an intimate level. I have been fortunate to perform with Ugandan
musicians such as David “Pragmo” N’Saiga, Godfrey Lubuulwa and Baxma
Waves, Qwela Band, Brian Mugenyi, Maureen Rutabingwa, Charmant
Mushaga, Jackie Akello, Myko Ouma, Sabar Zibula, Robert Aduba, Kaz Kasozi,
Pauline Amuge, Kampala Symphony Orchestra, and Kampala Singers, as well
as Dar Choral Society located in Dar Es Salaam, Tanzania. I do not live in an
expatriate “bubble”. My intention is to return to Uganda to stay rather than, as
most foreigners do, leave upon completion of a two or three-year contract.

Beyond my Ugandan experience I have performed in over twenty countries
and have travelled to over sixty nations in all. Interacting with other cultures,
finding common ground, pronouncing seemingly difficult names, eating local
food, and appreciating that which I am otherwise ignorant of, are second nature.
It is with this background that I believe I am uniquely qualified to attempt to
design such a curriculum.

Much of the program will appear to be similar to those courses offered
elsewhere in the world. This is due to the fact that much of the course material
will use Western terminology and Western harmony as its most common basis.
However, all education employs the use of comparisons, analogies, and an
understanding of the environment in which it is a part. The implementation of
this program will therefore always have not only Ugandan musical traditions
taken into account but also the Ugandan social and cultural environment.

9

Why is this necessary? I see two primary reasons why to consider this. The
first reason is simply to be able to relate more directly to the student body. From
my experiences as a student at other universities I have witnessed the
difference between a teacher who thinks this way and one who seemingly
teaches the same way regardless of the student, or the environment, in which
he or she is instructing. Between my experience living in Uganda and spending
time studying its history and being amongst its people, I am able to use both
abstract and analogous examples which relate to the students.

I attempt to be aware of my frames of reference. I have seen teachers with
diverse student bodies use references that are purely based in the American
experience, American culture, that foreign students haven’t a clue about. I am
keenly aware of such situations and do my best to avoid them. For instance, as
a non-music specific example, in Uganda I would not use references to seasons
as these do not exist in the same sense as in the USA or Europe due to its
location on the equator and hence the lack of seasonal change. In other words,
where autumn does not exist, do not mention it. I may make reference to the
rainy season but not to summer or winter. Similarly, if one was in Australia or
South Africa, when is summer? It is not in July. So, when teaching, one has to
adjust to the geography of their environment and to the experiential realities of
the students. Correspondingly, I would also will not make reference to the
realities of driving a car as the majority of students in Uganda will have never
done so. If your goal is to make an analogy that people can relate to - then do

10

not make an analogy that no one can understand!

All instructors within my program will be encouraged to make analogies
relevant to our cultural context with the understanding that our students will, at
some point, interact with the world beyond our borders. To that end, cultural
sensitivity will also be incorporated into the teaching guidelines on an ongoing
basis.

4. PROPOSAL
The goal of this proposal is to create a curriculum that is appropriate for
students enrolled in a Bachelor’s Degree program seeking a degree in
Contemporary Music(Jazz) Performance. There is no standard program model
that fits the reality of all nations, cultures, or environments. To that end I plan to
use my experience as a music educator in Uganda, subsequent to 25 years in a
similar capacity in the USA, to construct a workable, practical, and doable
bachelor’s degree program. I will also draw on my 44 years as a professional
musician with particular attention to my time performing and recording in
Uganda since 2010.
To understand how to create a program to meet the needs of a specific
location it is helpful to understand the history and current situation of that
region. All locales are unique in their history and in their culture or cultures.
Uganda is certainly no exception.

11

Figure 2.Africa Map(with Uganda circled by CW), accessed June 25, 2018, “africa_pol_2012.1”
https://www.scribd.com/document/356861556/africa-pol-2012-pdf

12

5. Uganda Historical Background
Uganda is unique in many ways. For one, the language of all education,
from pre-school and on up through university, is English7. All students who have
graduated high school are relatively fluent in English, though for nearly all it is a
second, third, or fourth language. In the central region, where the capital
Kampala lies, the lingua franca is Luganda, the mother tongue of the Baganda
people. This shifts as you travel to the various regions of the country as there
are upward of 65 languages in use throughout the nation. Some of these
languages only have several hundred speakers remaining as they are only
spoken by the members of that given tribe.
With a population of approximately 44 million as of this writing (June,
2018)8, Uganda, at 241,038 square kilometres9, is nearly the size of the USA
state of Oregon. This makes it slightly less than half the size of the nation of
Spain. The largest linguistic group are the Baganda people, comprising 17% of
the population. There are a handful of others that reach one million or more

7

Uganda National Language, Ug Facts, accessed June25, 2018
https://ugfacts.com/uganda-national-language/
8

Uganda Population, worldometers, accessed June 25, 2018,
http://www.worldometers.info/world-population/uganda-population/
9

Geography Statistics of Uganda, World Atlas, accessed June 25, 2018
https://www.worldatlas.com/webimage/countrys/africa/uganda/uglandst.htm

13

speakers such as the Itesot whose language is Ateso, Banyankole who speak
Runyankole, the Basoga speaking Lusoga, and the Banyoro whose language is
Lunyoro.

The country is split into four distinct linguistic regions10; the two major
groups are the Nilotic languages to the northeast, and the Bantu whose mother
tongues spread south from there. Also distinct, if small in number, are Central
Sudanic languages, such as Ku Ku, and two languages which fall in a group
called Kuliak. Ateso is a Nilotic language as is Nkaramojong of the Karamojong
tribe. Examples of Bantu languages are Luganda and Rukiga. Nilotic languages
differ as greatly from the Bantu linguistic group as English does from Korean.
This is unique in Africa as Uganda acts as the home of a sort of euphemistic
linguistic fault line between these primary groups. As there are so many mother
tongues, and the fact that there are two distinct linguistic groups, English,
though it is a leftover from Uganda’s days as a British Protectorate, is a logical
lingua franca. Very few people speak English as their mother tongue so there is
no resentment from tribe to tribe over the use of English. When resentment
does erupt it is a shared feeling, though, for the moment, there is no logical
replacement for English.

10

Languages of Uganda, accessed June 25, 2018
https://ipfs.io/ipfs/QmXoypizjW3WknFiJnKLwHCnL72vedxjQkDDP1mXWo6uco/wiki/La
nguages_of_Uganda.html

14

Figure 3. Linguistic Map of Uganda, accessed June 25, 2018,
https://upload.wikimedia.org/wikipedia/commons/5/57/Languages_of_Uganda.png

While Kiswahili joins English as an official national language it is spoken to
a far lesser degree and is not taught in schools. It is a holdover from precolonial days and has been mainly used in Uganda by the military, a reason for
its lack of popularity for the general public. It is the dominant language in
neighboring Tanzania, being a national language in that nation as well as in
Kenya and Democratic Republic of Congo(DRC). As a result it is used
somewhat as a language of business and trade throughout the Great Lakes
region which includes the aforementioned countries as well as Rwanda,

15

Burundi, and South Sudan. For our purpose’s it will not be considered as a
language for music education as it is not broadly used and is not used in
primary or secondary schools, where most of our potential students will be
coming from. In the future I do see an intrepid Kiswahil speaker translating and
amending this text for use in Tanzania or in Kenya.

As another interesting point of fact, the Institute for Economic Research at
Harvard University released a study in 201311 which declared to Uganda to be
the most ethnically diverse country on the planet. They determined this at the
conclusion of an eleven-year study. Many western countries pride themselves
on beings ethnically inclusive while the reality is that the 20 most diverse
nations are located on the African continent. The USA is in the middle of the
pack while South Korea was determined to be the most ethnically homogenous
of all countries.
The ethnic diversity of Uganda is largely due to its history of tolerance.
There is little to no religious strife though the country has a significant, 15%,
Muslim population12. Muslims are full integrated into Ugandan society, unlike in

11

Matt Blake, ”Worlds apart: Uganda tops list of most ethnically diverse countries on
Earth while South Korea comes bottom”, Daily Mail, May 17, 2013, accessed June 24,
2018
http://www.dailymail.co.uk/news/article-2326136/Worlds-apart-Uganda-tops-listethnically-diverse-countries-Earth-South-Korea-comes-bottom.html
12

“Uganda Religion Stats,” Nation Master, accessed June 25, 2018
http://www.nationmaster.com/country-info/profiles/Uganda/Religion

16

western countries. There was a notable terrorist act during 201013 that targeted
people gathered to watch, on TV, the World Cup of Football being held that
year in South Africa. It was determined that those responsible were influenced
by factors abroad and the local Muslim community roundly condemned the
attacks.
There are, however, some tribal based tensions which most people mutter
about yet realise that the way forward is acceptance. Such fears have been
used in the past by certain leaders and hostility has been a result. The hope is
that those problems have been relegated to the past. One’s tribe (or ethnic
group) continues to be a source of identity beyond that of Nationalism. Most
government, school or job application forms still ask for one’s religion and tribe,
a notion that, as an American, I found disturbing. It is a normal part of the
system in Uganda but I do believe that it has the potential to create more
problems than it solves. I do admit that that is a cultural bias which I have
difficulty in letting go. Wheras the American ideal professes the supremacy of
the individual and “going it alone”, the general African cultural thought process
is to find one’s place within the group or the collective. To be honest, on the
personal level I vacillate between the two mindsets. Hardly any Ugandan gives
a thought to the fact that everyone considers their tribe. Though Uganda’s
diversity is at the opposite end of the spectrum from South Korea’s
homogeneity, the general assumption of tolerance is a great strength of the

13

Xan Rice ,“Uganda bomb blasts kill at least 74”, The Guardian, July 12, 2010,
accessed June 24, 2018,
https://www.theguardian.com/world/2010/jul/12/uganda-kampala-bombs-explosionsattacks

17

country.

Another factor in the diversity of Uganda is that it has had an open-door
policy to refugees, from neighbouring countries and beyond. In my classes I
have had students from not only Tanzania, Kenya, DRC, South Sudan and
Rwanda, all of whom share a border with Uganda, but also those from Somalia,
Eritrea, Ethiopia, Zimbabwe, Chad, Japan, Korea, Italy, UK, Sudan, Burundi,
South Africa, and even Comoros. Most of those from African countries are
refugees or children of refugees. Though life is certainly far from easy for these
people as many are confined to refugee camps and others have difficulties in
fully integrating into a new society14. However, they have been able to escape a
situation that had become a life or death struggle. I have also performed in
Kampala with a fine trumpet player who is a refugee from Syria.

To compare with the United States of America, a supposed leader in
welcoming those in need, in 2016 the USA allowed 86,000 refugees through its
borders15. The current USA administration is doing all that it can to cut that
figure in half. Uganda welcomed 500,000 refugees from South Sudan alone in

14

Julius Ocungi, “South Sudan refugees resort to charcoal, stone crushing”, Daily
Monitor, June 8, 2018, accessed June24, 2018,
http://www.monitor.co.ug/News/National/South-Sudan-refugees-resort-charcoal-stonecrushing---/688334-4602006-fnwf05z/index.html
15

Phillip Connor, “U.S. Admits Record Number of Muslim Refugees in 2016,” Pew
Research Center, October 5, 2016, Accessed June 24, 2018,
http://www.pewresearch.org/fact-tank/2016/10/05/u-s-admits-record-number-of-muslimrefugees-in-2016/

18

201616 and had opened its border to more than 100,000 per month in the first
half of 2017. Clearly, the numbers and the diversity in Uganda are on the rise
both through their refugee policy and via the continuously high birth rate.

The population of Uganda has been growing consistently at a rate of over
3% per year17 for decades, having grown six-fold today from a total of
7,240,174 at independence in 196218 The rise in population, coupled with
urbanisation and the preponderance of English speakers has seen a fairly
sudden rise in the demand for music education.
Overall, this is a relatively new phenomenon in the country. In the post Idi
Amin years (he was deposed in 1979)19 most Ugandan schools have had little
in the way of performing arts studies. The general subject of “Music, Dance, and
Drama” (MDD) has been, in fact, one that is derided as unimportant by many,
though the tide does seem to be turning.

This has begun to change, as evidenced by the opening of such schools as
“Tender Talents” magnet Secondary School which began in 1999 but has now

16

Conor Gaffey, “Uganda took in more refugees in 2016 than many wealthy European
Countries did all year,” Newsweek January 26,2017, accessed June 24, 2018,
http://www.newsweek.com/uganda-took-more-refugees-crossed-mediterranean-2016aid-agency-548508
17

“Uganda on Track to Have World’s Highest Population Growth,” Worldwatch
Institute, accessed June 25, 2018, http://www.worldwatch.org/node/4525
18

Ibid

19

“Idi Amin Biography,” biography.com, accessed June 25, 2018,
https://www.biography.com/people/idi-amin-9183487

19

grown in stature and has even had an auditorium constructed. Here, MDD is
given high stature while the school, of course, also delivers the standard
secondary curriculum20

Another factor in Ugandan life that encourages music is the tremendous
influence of the various denomination Christian churches. Many of them, in
particular the “Born Again” faction, feature music as a centerpiece. It is
employed as a way to attract new members while giving people a participatory
voice. However, while the church purchases instruments and PA systems the
musicians are largely self-taught with most suffering from a serious lack of
skills. One consequence is that this is producing a demand for music education.
Occasionally a church sponsors one of their talented, though as of yet
untrained, musicians to attend music school. This musician can then go back to
their church and impart some of what they have learned to their fellow
musicians. Other churchgoers seek out music education on their own.

From the early days following independence in 1962 Uganda did have some
sporadic music education. It was centered mostly in the schools that catered to
the wealthier segments of society. It was large enough to be able to create and
sustain an orchestra for several years but was a casualty of the tumult
surrounding the final years of Amin’s regime and the next several years of
turmoil where the Ugandan economy came to a virtual standstill. There was no

20

“Background,” Tender Talents Magnet School, accessed June 25, 2018,
https://www.tendertalents.org/profile

20

incentive or infrastructure sufficient to support music education when nearly all
public services had come to halt and even basic necessities were in short
supply.

One institution which survived those years is the venerable Makerere
University21 which had begun a Music, Dance, and Drama department in 1971,
coincidentally the same year that Amin came to power via a military coup while
President Milton Obote was out of the country22. Makerere University itself was
founded in 1922 and is one of Africa’s longest tenured universities. Their music
program was later renamed “Department of Performing Arts Film”23 by which it
is known today. This program is predominantly based in the European Classical
tradition. From my vantage point, Makerere serves a different function from
what I intend with my proposed curriculum. It is steeped in the European model
of Classical Music. Even though they now also have an African music segment
they are lacking in both a Contemporary Music department and in a system
which integrates the differing programs.

In 2001 Kampala Music School was founded following an influx of donated
pianos thanks to the efforts of Ms. Fiona Carr, of The United Kingdom, who

21

“Historical Background,” Makerere University, accessed June 25, 2018,
https://www.mak.ac.ug/about-makerere/historical-background
22

John Fairhall ,“Curfew In Uganda After Military Coup Topples Obote,” The Guardian,
January 26, 1971, accessed June 24, 2018
https://www.theguardian.com/theguardian/1971/jan/26/fromthearchive
23

“About us,” Department of Performing Arts and Film Makerere University, accessed
June 25, 2018, https://paf.mak.ac.ug/#

21

created a plan call “Pianos for Uganda”24 This was so successful that the music
school was a logical progression. Once located in rented space in the basement
of the local YMCA, KMS now has purchased its own building in central
Kampala.

This school has become a center for one-on-one classical music education
and, consistent with that, is largely focused on the Associated Board of the
Royal Schools of Music (ABRSM)25 exams which originate in the United
Kingdom. In fact, an examiner journeys from the UK to Kampala annually to
listen to and assess the hundreds of Ugandans who participate. Over the last
several years the school has initiated a jazz department, with a jazz group
which meets weekly, but this department remains a numerical appendage of the
classically based institution.

KMS also has an outreach program where it sends teachers to run
instrumental music programs in schools. These are usually, again, the wealthier
schools or even the International Schools. The success of these outreach
programs are largely dependent on parents paying extra money for music
education and the time allotted by the school administrators.

Uganda follows the British system of “O” or Ordinary Level, and “A” or

24

“Home" Kampala Music School, accessed June25, 2018,
http://kampalamusicschool.com/.
25

“About ABRSM,” ABRSM, accessed June 25, 2018, https://gb.abrsm.org/en/aboutabrsm/

22

Advanced Level. of Secondary education. Nearly all primary and secondary
schools are privately run. Government schools are usually found deep in
villages where there is no alternative. In short, you get what you pay for in terms
of quality of education. In low cost schools it is common to find class sizes
between 120 - 150 students. Some subjects are frequently taught by an older
student rather than by a trained teacher. Middle level school have class sizes
upward of 50 - 70 students. Top schools have class sizes from 15 - 50. These
schools all follow a curriculum designed by The Uganda National Education
Board(UNEB)26 Students have seven years of Primary education prior to,
perhaps, continuing on to “O” level for four years and then, less commonly,
continuing to “A” level for an additional two years. These are the students who
can then potentially qualify for university. As there is virtually no public school,
families which have no money for school fees simply do not send their children
to school. This is one of the major factors in preventing Uganda from developing
a more equal economic environment.

Africa Institute of Music is the first university dedicated exclusively to music
education in Uganda. Founded in 200227, it is licensed by the Uganda National
Council for Higher Education. In 2017 the school moved to a purpose built
structure which demonstrates that it is here to stay as a force in music

26

“Our Mandate,” Uganda National Examinations Board, accessed June 25, 2018,
https://uneb.ac.ug/.
27

Stanley Gazemba, “Africa Institute of Music - bio,” Music In Africa, October 15, 2014,
accessed June 24, 2018, https://www.musicinafrica.net/directory/africa-institute-musicaim

23

education in Uganda. What makes this school unique is that it focuses on three
primary disciplines; The European Classical tradition, Jazz, and indigenous
Ugandan music. The goal is for each to have equal significance and for all
students to attend course in each program while the emphasis remains on their
core interest.
6. OBJECTIVE
The objective of the Culminating Experience project is to have a workable
Contemporary Music(Jazz) Performance curriculum model that is relevant to the
Ugandan experience and culture. I also believe that it would be workable, with
some minor adjustments, throughout East Africa due to the regional similarities.
With more significant tweaking I would hope that it could be found useful
throughout much of Africa.
SUB-OBJECTIVE
While the curriculum itself will be largely based on Western contemporary
music from the jazz tradition we will draw from the African music department as
we develop and encourage a synthesis of the two styles. In doing so we will
explore both the differences and the similarities between the traditions. Where
do the systems meet? Where is there musical conflict? What is to be gained
and what may be lost by such an integration? Can we overcome such ingrained
Western beliefs that African music is to be classified as “primitive”?
The live presentation of this Culminating Experience, while being far too
cumbersome to detail in a 20 - 25 minute time frame, will be skewed in favour of
this subject of a fusion of African and Western traditions. This written paper will
24

find more of its emphasis on the Ugandan background environment and the
actual school music curriculum. I believe that Western traditions do not demand
a video or audio to the degree that a depiction of Ugandan traditional music,
and it’s fusion with those Western traditions, does. For those reading this text
please see the Youtube links for the slideshow and imovie presentations given.
With that in mind the plan is to give a brief summary of the overall
Contemporary Music curriculum in the presentation whereas further details will
be spelled out in the written paper. I propose to use the bulk of the presentation
time to present a video based demonstration of Ugandan traditional music and
then show how it can be fused with Western traditions. At times, I will play my
electric bass to “jam” with an adungu on video or to demonstrate how a song
may be composed by superimposing chordal structure upon a traditional
melodic theme.
7. METHODOLOGY
The methodology I will employ is twofold; the bulk of the curriculum will be
based upon my personal experience as discussed in the opening paragraph.
This will draw from the four university institutions I have attended, from private
instruction from bassists such as Richard Davis, Dave Holland, Abraham
Laboriel and Gary Willis, and from years of teaching at elementary, secondary,
and university levels. I have also had the opportunity to play and record with
several notable musicians and countless “unknown” musicians, many of whom I
have gathered knowledge through a musical osmosis.
Besides personal experience and contacts I will employ other resources as
25

listed throughout the paper.
8. JUSTIFICATION
The justification for such a project is clear to me. It fills a void in education
and will help describe a growing trend. Until the last few decades, Africa and
African music was left unto itself and given little respect by musicologists and
musicians of the west. Even in the midst of an otherwise glowing article about
composer, musician, bandleader, Duke Eliington, a writer in 1930 had this to
say about Ellington’s future direction; “At present he is at work on a tremendous
task, the writing, in music, of “The History of the Negro,” taking the Negro from
Egypt, going within to savage Africa, and from there to the sorrow and slavery
of Dixie, and finally “home to Harlem.28” The word “savage” is italicized by this
author. Such words always seemed to be attached to Africa in contemporary
accounts.
From the African perspective, music has had a long history of being a part
of daily life, that is; it was not an art form separate from all else. Music, as well,
has also been an integral part of ceremony, whether grand or small scale, and
usually combined with dance and/or storytelling which both served as a kind of
oral history.
As we now move well beyond the colonial era African music is searching,
and finding, new ways to both survive and be relevant to Africans and people

28

Mark Tucker, ed., The Duke Ellington Reader, original article by Florence Zunser,
New York Evening Graphic Magazine, December 27, 1930 (New York and Oxford:
Oxford University Press, Publisher, 1993)

26

throughout the world. An examination of where a section of that music exists
today and how music education can aid in its growth serves a clear role and will
therefore be of importance. The notable American jazz musician, pianist Randy
Weston, notes the disconnect in the West between the African reality and that
portrayed in both popular culture, such as film, and in the classroom. In
speaking how Africa was displayed as he was growing up in the 1930’s and
1940’s he states that “With the negative and white supremacist images in those
films, you couldn’t blame black folks for not wanting to make a connection with
Africa at all.”29 With reference to the education he experienced as a youth he
says “Whatever they teach you, it’s that the white man came to Africa, brought
Christianity and freedom to those supposedly primitive Africans.”30
The goal is to provide quality music education for two core reasons; first, to
teach the skills that will allow Ugandans and others attending the school to be
able to join musicians anywhere in the world by learning the basic language of
music. Secondly, we aim to create a new generation of music teachers where
there is now a dearth of those with and knowledge to teach or organise choirs,
ensembles, or church groups.
In both theory, and through personal experience, it has been logical to
conclude that all cultures have something beautiful to contribute to the world.
The goal should be cross cultural interaction. We should accept all cultures as
they currently exist while encouraging new fusions of music, as well as food,
29

Randy Weston, and Willard Jenkins, The Autobiography of Randy Weston: African
Rhythms. (Durham and London: Duke University Press, 2010) page 18
30

Ibid, page 19

27

architecture, art, etc. To do so properly we must break down old systems that
perpetuate the idea of cultural superiority. One problem in Western Culture is
the advent of the short attention span. A forty second video clip to demonstrate
the sound or capability of an instrument is now considered lengthy.

Imagine the African music scholar, with a Doctorate, upon hearing
Beethoven, or Coltrane, or Tito Puente for the first time. This scholar is given a
40 second example to hear and then it is assumed that they can make a logical
generalisation and value judgement based upon that short excerpt.
Imagine a music scholar who has never heard Beethoven? I doubt there are
any music PhD’s who are unaware of Beethoven. Now imagine a music scholar
unaware of Fela Kuti. Who? Or Youssou N’dour or Hugh Masakela? Sadly, it is
not difficult to picture a Western music scholar who is ignorant of the greatest of
African artists. The point is that Africa, in every way, has been relegated to the
sidelines for too long. The goal of this program is to bring African music onto an
equal playing field with ALL music. The way for me to do so seems
contradictory - I aim to teach and lead a department that will predominantly
teach a Western style of music - jazz and its “children”, other forms of
Contemporary music. However, our program will always be aware of the roots
of this music which extend through generations of African Americans, to
slavery and the slave trade, and continue to Africa itself. In that regard we will
come full circle through a study of Contemporary Music. And, we will always be
aware of, and open to, a Ugandan, or African “spin” to be placed upon the
music. While there is a historical framework under which the music will be

28

studied it is never to be considered static. It is ever evolving.

As a personal anecdote, after I had been in Uganda for merely a month or
so, I was training teenage children from the M-Lisada Children’s Home one of
their first lessons in jazz when I was overcome with a revelation. The origins of
jazz, while very debatable (how far do we wish to go back in time?), is
frequently traced back to New Orleans in the person of Louis Armstrong. Mr.
Armstrong, known equally for his virtuoso musicianship, vocal originality, and
showmanship, spent a crucial period of his childhood in an orphanage31 where
he received his first musical training in that institutions’ brass band. Now I found
myself introducing jazz, an art form created by African Americans, to these
African children at a home for former street children, many of whom were
orphans. The irony of this was surpassed only by the eagerness of these kids,
many of whom have now grown to be fine adults and professional musicians in
Kampala. The circle had been completed for me.

This now begs the question; why not simply transplant a western music
program onto Ugandan soil? To a large degree we will do just that. However, it
is of the utmost importance to recognise that which we must avoid.
As much as the western world makes valiant efforts to erase unpleasant
facts about its recent past there frequently seem to be remnants that come to
light now and again.

31

Matt Micucci, “Louis Armstrong and the Colored Waif’s Home For Boys,” Jazziz, July
4, 2016, accessed June 24, 2018
https://www.jazziz.com/louis-armstrong-colored-waifs-home-boys/

29

One such example is simply the use of the term “Ethnomusicology”. To its
credit, the book “Musics of Many Cultures”32 attempts to tackle this dilemma
though, in the end, the unfortunate phrase persists. Despite all explanations to
the contrary I would agree that such a term, in practical usage, refers to music
that is inferior to that of the European tradition. That inferiority is based upon
such cultural biases toward music with an oral tradition rather than a written one
or the non-existence or “simple” concepts of harmony, or even the fact of
performance spaces not being those of a grand hall with pomp and
circumstance.
Along with this is the assumption that a music that fits the category of being
an “ethno” music is one that is produced by people who are non- European or
non- white. Performances of Beethoven by African musicians resents an
interesting disconnect for the ethnomusicologist.
This brings us more specifically to the African reality. As the goal of this
paper is not to examine anti-African bias I will only point to one specific example
but I will delve into it rather deeply. References to traditional African music and
instruments seems to fit like a glove with the word “primitive”. Why is that?
In all of my research I have been unable to find any reference to any
European music being classified or described as primitive. European music will
be defined as “folk” as in Irish folk music. It will be described by its region as in
the “Balkan” tradition. We will read descriptions of the ancient instruments of

32

Elizabeth May, ed., Musics of Many Cultures (Berkeley and Los Angeles, California:
University of California Press, 1980) 1 - 9

30

Greece but even they are not primitive, they are ancient or they are precursors
of a modern instrument found today.
Perhaps an instrument may be classified as primitive because the it is
produced purely of natural materials that may be gathered in the forest and
from the bush. Wood, cut and shaped by hand must therefore be the definition
of a primitive instrument. But no, that also describes the process that gave us
the Stradivarius violin, an extremely finely crafted instrument. Such and
instrument would never be classified as primitive so the materials and tools
shaping as instrument can not be factors in its description.
Is it the, at times, atonal (to western ears) melodies found in African music?
Any brief attention given to several 20th Century classical composers will yield
similar “non-melody” melodies. Stravinsky string quartets do not exactly lend
themselves to being characterised as melodic tunes or as potential bedtime
lullabies. Therefore, being “pleasing” to the ear is not a factor here.
Conversely, could it be due to the sometimes simplistic melodies found in
African music? That could apply to the majority of the western worlds most
beloved children’s songs, popular songs, and renowned classic melodies so
that also must be dropped as a determinant. Who composed “Twinkle, Twinkle,
Little Star”?
Is it the rhythmic complexity found in much African music? Well, that can’t
be as the use of the word complex seems to discount the idea of “primitive” by
the very definition of the word.

31

Are they referring to music produced prior to the recorded era? Well, if so,
how does anyone truly know what that sounded like if it was never written down
and never recorded? If we follow that train of thought then we must also
assume that one of the most famous musicians, Niccolo Paganini33, was but an
expert primitive musician. His prowess can not be proven to be anything beyond
hearsay. What is to distinguish Paganini’s brilliance from that of a
contemporaneous kora playing Malian griot?34
The word prehistoric falls into this category. Paganini was at least an
historic figure. The supposition is that, due to a lack of written history with
names of famous musicians, that all prehistoric African musicians were, by
inference, primitive. But that would then apply to all musicians throughout the
world. Prehistoric portrays that which has not been recorded, prior to written
documentation, and, while being distantly related, that is not exactly
synonymous with primitive.
If the description is that the music is simply unfamiliar or dissatisfying to
western ears that could be an acceptable interpretation. But it’s not the phrase
most commonly used. And, plenty of African music is found by many foreigners
to be pleasing to the ears.
As there is no way to actually define what makes a music “primitive” then it

33

Encyclopedia Britannica, s.v. “Niccolo Paganini” accessed June 24, 2018
https://www.britannica.com/biography/Niccolo-Paganini
34

“Mali Empire and Griot Traditions,” Culture and Literature of Africa, October 6, 1998,
accessed June 25, 2018,
http://web.cocc.edu/cagatucci/classes/hum211/CoursePack/coursepackpast/maligriot.h
tm.

32

surely must be a term whose usage has fallen by the wayside, has been
relegated to the trash heap, and no longer has the odor of cultural bigotry.
But no, this term is still in use today. It can be found in a text used in
university classrooms in the year 2018. It is used with vague reference to
African music in such a manner that it slips by without hardly being noticed.
What text is that and where may it be found?
The reference I am citing is found at the Berklee College of Music, Valencia
Campus within a Master’s Degree program. Using the scientific method we only
require one example to dispel the mythic claim that racist, bigoted, or biased
thought is no longer perpetuated in leading centres of higher education. The
evidence is not in the form of presumption or rumor. We find it clearly stated in a
syllabus.
The course itself is from the Contemporary Performance (Production
Concentration) program. It is from the Contemporary Arranging ARR-511 class
taught in the Spring Semester 2018. Attached is the page in question when
discussing guitar riffs.
“Riffs can be traced back to call and response patterns that were common in
primitive african music, and. . . “35 etc. In addition to using the term “primitive” in
such a throwaway manner that is insulting to any and all Africans(and therefore
should be insulting to any human) the word “African” is written in lower case.
Proper English asks that this be capitalised. Is this merely a “slip of the pen”

35

Enric Alberich,“Design of Riffs for Guitar,” pg. 1,accessed May 10, 2018,(ARR-511
Contemporary Arranging, Berklee Valencia Campus, Valencia, Spain, January, 2018).

33

that accidentally saw African not be written with an upper case “A”? Or is this a
subtle way, consciously or unconsciously, of further censure of African culture
as a whole? The embedded document in question is seen below:

Figure 4. excerpt of page from ARR-511, accessed May 10, 2018, Berklee OL

Shouldn’t we be given an example of what african(sic) music the writer may
be referring to? No, because, I would argue, it is stated in such a manner that it
is an unquestioned given that all African music is primitive due to the fact that it
is African.
Is this a one time error? I should think not in a Master’s Degree Program
where the students are chastised for not labelling their files properly. It is nearly
unthinkable that a simpIe error should find its way into the relevant notes for a
Berklee Online(OL) course. One should think not when the institution in
question is one of the most famous of all music schools in the world. I should
think not in a music program where there is rarely a mention of the existence of

34

African music or culture in any way. One would think that, in a school where the
word “diversity” is so revered that a reference to an entire continent would show
some semblance of respect or, at least, some true acknowledgement of its
cultural dignity. Instead there is a correlation made between African music (and,
by extension, Africa and its culture) and the word primitive. Can the music and
instruments be described as different from Western music? Yes, in fact a fine
Ugandan musician, Samuel Nalangira, refers to his music as “a fusion of
traditional instruments with exotic machines such as the piano and guitar”.36
From a Ugandan perspective the piano is exotic. That is logical. But it is not in
any way dismissive. Is this because western instruments are clearly nonprimitive? A case could be made for any instrument being primitive. What could
be a reason for piano to be thought of as primitive? For one, it is now a quite old
invention. Secondly, it is very cumbersome to shift from location to location.
Third, it takes forever to tune it and the pianist his/herself rarely has the training
to tune it themselves. Its primary material is that of wood whereas, ironically, a
necessary component was once crafted from the tooth of an elephant. The tusk
which this majestic African animal gave its life for was used for decade upon
decade to produce ivory, a prized component for fabricating white piano keys.
This description sounds like some ancient, dare I say primitive, instrument.
Nalangira, however, is respectful toward the instrument of another culture. Why
do so many people in the Western world insist of making a value judgement
when they assess cultural attributes from another land? How can such a blanket

36

Stanley Mukooza, “Nalangira on mission to sell world music,” SQOOP, January 20,
2018, accessed June 24, 2018, http://www.sqoop.co.ug/201801/features/nalangiramission-sell-world-music.html

35

statement be made to classify African music as primitive?

Let us consider the impression such a statement makes upon an African
reader/student. The only mention of African music, or any aspect of African
culture for that matter, in this course description is this one. The musical output
of an entire continent is classified in this manner. How should this student feel
as he or she attempts to integrate into the program as a whole? Perhaps if
there were dozens of references to various examples of African music and this
was a solitary illustration (with a specific footnote given) it could be forgiven.
Perhaps, with a solid argument based upon comparisons, it could be
acceptable. But it is not. It is the only reference to African music in the entire
course syllabus. Hackett37 argues for a “model also encourages the
construction of an emancipatory educational setting which permits students to
become actively engaged in their own learning process.” I would argue that
imposing such a word as “primitive”, with reference to Africa and its music, into
a school curriculum may serve to discourage any student, particularly one from
Africa or of African descent, from being engaged in the class whatsoever.

It is quite unfortunate that so little has changed in the decades since the
Francis Bebey, coincidentally a notable guitarist from Cameroon, wrote the

37

Cedric D. Hackett Assistant Professor, Department of Africana Studies, California
State University, Northridge, “Kufundisha: An Innovative Teaching Approach for
Student Engagement and Experiential Learning,” Africolgy: The Journal of Pan African
Studies, vol.9, no.8, October, 2016, accessed June 24, 2018
http://www.jpanafrican.org/docs/vol9no8/9.8-X-7-Hackett.pdf

36

following, first published in 1969; “The Westerner who wishes to understand the
authentic music of Africa must be willing to reject the notion that it is “primitive”
music consisting merely of rhythmic noises. This simple act of rejection will
“open his ears” and allow him to discover gradually that African music in many
respects resembles his own. Slowly, he can begin to pinpoint those differences
which, if comprehended correctly, may enrich universal culture.”38 It is amazing
that we are one year shy of fifty from the original publishing date of Bebey’s
volume. Yet still, African music, and African people are given little respect in the
West. That such disrespect is found within academia should be shocking but
the Western mindset is so accustomed to this attitude that bigoted statements
float right past the average reader. For the word primitive implies a value
judgement being applied to either an object, an action, a creation, or even
human beings themselves. If one observes a little deeper it becomes clear that
people the world over do the same things. They just do them slightly differently.
To classify something as primitive is simply the inverse of designating another
as superior, and that is a slippery slope.

This recalls the historical reality which Africans have had to endure now for
centuries. The transatlantic slave trade which began in the 16th Century gave
way to the Berlin Conference39 of the 1880’s where the African continent was

38

“Francis Bebey, “African Music A People’s Art,” (London: George Harrap & Co
1975, first published by Horizons de France 1969), pg.2
39

Matthew Craven, “Between law and history: The Berlin Conference of 1884-1885
and the logic of free trade,” London Review of International Law, Volume 3, Issue 1,
March 1, 2015, Pages 31–59, accessed one 24, 2018,

37

carved up by European powers into morsels for the new colonial masters
Concurrent with the colonial period Europeans introduced African culture to the
homeland via human zoos40, the last of which was in operation as late as 1958
in Belgium41. Yes, Africans were housed in zoos, usually alongside cages of
monkeys and apes, where paying customers came to stare. The USA Civil
Rights Movement extended well into the 1960’s, colonialism continued in Africa
into the 1980’s, and the apartheid regime in South Africa only fell in 199042.
Such blatant racism is of recent vintage.
During my visit to Kampala, Uganda in May, 2018 I read the above quote
from the Contemporary Arranging class to several Ugandan colleagues to get
their reaction. Some people reacted to the word primitive immediately. Some
attempted to disguise their reaction in an attempt at being courteous to me, an
apparently white American who must not realise what he is actually saying. And
some passed right by the word at first as they were focused upon our greater
musical discussion. But they would somehow always return to that word as it
stuck in their ear, their brain, their consciousness. It is clearly a powerful word. It

https://academic.oup.com/lril/article/3/1/31/2413101
40

Hugh Scofield, “Human Zoos: When real people were exhibits,” BBC News,
December 27, 2011, accessed June 24, 2018, https://www.bbc.com/news/magazine16295827
41

Daniel Boffey, “Belgium comes to terms with 'human zoos' of its colonial past,” The
Guardian, April 16, 2018, accessed June 24, 2018,
https://www.theguardian.com/world/2018/apr/16/belgium-comes-to-terms-with-humanzoos-of-its-colonial-past
42

“A History of Apartheid in South Africa,” SAHO, accessed June 25, 2018,
http://www.sahistory.org.za/article/history-apartheid-south-africa

38

is both powerful, distressing, and ugly.
Though my sample group was small, only ten people, they all reacted
negatively. Some were forgiving, thinking that the one who phrased the
statement was unfortunately ignorant or entirely unaware of what African music
actually is, rather than being of malicious intent. Others were decisively halted
in their tracks and refused to allow such a statement to get by without a serious
comment. Finally, some kept returning to it as they realised the full implications
of how it belittled their peoples’ entire musical heritage.
I have attached four comments to my video presentation so that the viewer
may appreciate both visual and oral reactions as representative examples43 of
reactions from Ugandans concerning the Berklee College of Music statement on
primitive African music.
Have I overstated my case? Are there some uncomfortable readers out
there? I say no, I have not overstated my case. There is a compelling new term
in use, “implicit bias”44. It is used to describe such instances where someone, or
some institution, does not consciously discriminate against someone, yet they
do discriminate because, well, it is just the normal thing to do.

43

Weigers CE accompanying CE video, Part 3 with Kaz Kasozi, Tshaka Mayanja,
Ssesaazi Julius, Kiggundu Musoke May, 2018, Youtube link,
https://youtu.be/_ccqlu8m7YA
44

Alia E. Dastagir, “As Starbucks trains on implicit bias, the author of 'White Fragility'
gets real,” USA TODAY, May 28, 2018, accessed June 24, 2018,
https://eu.usatoday.com/story/news/2018/05/28/racism-white-defensive-robin-diangelowhite-fragility/637585002/

39

The cases are endless. For example, the two young African-American men
arrested at Starbucks in Philadelphia45 for the crime of “waiting for a friend while
black” sparked that coffee shop chain to close over 8,000 of its stores one day
to train its personnel about this topic. There are so many case of “driving while
black”, “walking down the street while black” or doing just about anything while
black that (fill in the blank with any action or inaction) W(hile) B(lack) is
becoming an accepted term in the USA. Driving While Black, has given way to
Eating While Black or Waiting While Black. The key point is that by simply being
black one is a real or potential target for mistreatment. Words such as primitive
contribute to perpetuating these presumptions.
However, our example concerning an excerpt from a Masters level course
at a respected institution is not based on a drama which may be explained as
being the result of a poorly educated and inadequately trained low wage
employee. We are not speaking of a racist police officer in a crime ridden
neighborhood, or an ignorant person who has never had a personal encounter
with a person of color or one with a distinctly foreign appearance. There are no
such excuses to be found here, as invalid as such explanations actually are.
Institutions of higher learning are supposed to be above and beyond such a
mentality. Berklee College of Music, Valencia campus, clearly is not. An
education is not simply an expounding of a curriculum. The medium of
communicating any curriculum is via the particular teacher of the course
material and the overall school environment where such knowledge is

45

Ibid

40

disseminated. If any of those components is either insensitive or unaware of the
implicit bias, racism, cultural insensitivity, or however one chooses to categorise
such practice then the program is likely doomed to being severely compromised
or even to failure. The student is the client. The students is also the employer.
The student is both of these at the same time in that the student both purchases
the product (education) and therefore pays the salaries of those trusted to
deliver that product. The following quote is also taken from the online notes of
this same Berklee class:
Diversity Statement: Material and activities in this course support a
commitment to understanding diverse cultures and learning styles and
abilities. This is accomplished through the use of repertoire from a variety
of cultures and through the use of multimodal learning activities.46
The reality of how the course unfolded is in direct opposition to this
statement. While the intention behind this excerpt is noble it acts to further
demonstrate how far the Western world must still go to achieve its stated goals.
It says one thing and does another. The Western world seems to have learned
it’s lessons about flagrant racism. Those old terms have indeed vanished from
everyday use by the majority of people. In fact, much emphasis has been
placed on flowery language as in the highlighted statement about. It does sound
good. My only argument with this statement is that it should somehow recognize
the need for a variety of examples from within different cultures, so that one
example of culture which encompasses a large group, such as Africa in its
entirety, can not be dismissed with a single disparaging comment.

46

Enric Alberich, Syllabus pg 19, Diversity Statement, (Online access, ARR-511
Contemporary Arranging, Berklee Valencia Campus, Valencia, Spain, January, 2018).

41

Unfortunately, if the true meaning of such statements are to have real value
there must be a consistent follow through. I believe there is a genuine attempt
at improvement with regard to racism but the ingrained biases are deeply
rooted. I expect to find this in certain regions of the USA or Europe where the
populace is isolated from “diverse” cultures and is subject to the uneducated
biases of generations past. It is depressing to find such biases in full force in an
institution such as Berklee College of Music which, on paper, prides itself on
being so internationally oriented and diverse. Perhaps Berklee is succeeding
somewhat in reaching out to certain countries in Asia, and that is a positive
step. However, a casual observer of the Valencia campus bares witness to but
one black African student in all of the four master’s programs combined with
zero being in the Contemporary Performance (Production Concentration)
program. In glancing at the list of students from the program from the prior
school year (2016/2017) there were no names which appear to be African
though I certainly could be misreading that. I would argue that this is far from
representative of the world population whereas Africa now has over one billion
people. On top of this underrepresentation, Berklee, in it’s very curriculum, as
documented here, presents an unwelcoming image to the African student.

The context of where the statement using the word primitive is found is also
telling. It is located in the Arranging Class' online “Design of Riffs” “Definition”
page. The statement that I would argue is either an example of implicit bias (at
best), cultural bigotry (somewhat stronger), or blatant racism (at worst) is found

42

on a page under the heading of “Definition”. What is the definition of the word
“definition”? It is “a statement of the exact meaning of a word” or “an exact
statement or description of the nature, scope, or meaning of something”. We
are delineating an “exact statement” or an “exact meaning” in a way that is
culturally insensitive, vague in an insulting manner, and pejorative in its use of a
lower case “A” for African. It is not a subtle indiscretion.

My intention was to develop a Contemporary Music Performance curriculum
specifically with the Ugandan culture and environment in mind before I
discovered this page in the Arranging Class online pages. My belief in this
necessity was based on experience, feelings, discussions, and intimations.
There was little that I could put my finger on directly. Upon discovery of this
statement I realised that my intention to design a curriculum with Uganda in
mind, as opposed to purely transplanting one from the west, was a correct one.
If an argument is made to counteract my above claims that there was, in fact,
no negative intent, no derogatory inference, behind the use of the word primitive
in its sole reference to Africa music then I would argue that that person should
re-evaluate the definition of that word and its usage. For words are the primary
tool, or weapon, of an educator. They can not be brandished so indiscriminately
within an academic environment, particularly when embedded in an educational
text, only to be later dismissed as immaterial. An academic environment can not
claim to welcome diversity with one hand while ridiculing the people, and
potential students, from an entire continent, with the other hand.
In concluding the Justification chapter of this paper it is more clear than

43

ever that Uganda, and Africa as a whole, must develop Contemporary Music
Programs from within. When a prestigious university such as Berklee College of
Music allows such an attitude to exist, even when brought to the attention of a
program director, without so much as a follow up question let alone an
investigation, shows a callous disregard for Africa as a whole. One would
expect more concern in an academic environment but no, that is not the case.
The nice words are in the formal policies but, when an issue is brought to light
there is no response. It is a shame when the President of Berklee, Roger
Brown, is someone who shows deep concern for all regions of the world, and
lived for a time in Kenya, next to Uganda, and that his vision is not shared by
those at the Valencia campus. Some faculty members do “get it” but others do
not and communication is not the strong suit of the school administration.
Many enlightened and dark complexioned students do “get it” and were
eager to attend the CE presentation of which this argument was an integral
part. Those who have been subjected to discrimination know it when they see it.
Many others are attuned to such situations and this gives me hope that, through
greater awareness, one day in the future there will indeed be a more level
playing field at Western universities and in their programs. Sticking one’s head
in the sand and hoping that a distasteful issue goes away is not a solution. It is
unfortunate that such an academic faux pas is ignored by those in a position to
act to rectify it. Yet, in 2018 that has proven to be the case and for that I was
shocked and saddened.
With this in mind we will proceed.

44

==================================

9. School Environment
Prior to discussing the curriculum proper we will describe the overall school
environment. A healthy, friendly, and encouraging environment makes learning
and studying more enjoyable and fulfilling. I will briefly describe such an
environment as we have at Africa Institute of Music, and similarly at Kampala
Music School, for that matter, as a concrete example and a model for any
school.
We are now fortunate to have a new campus, still partially under
construction, but fully open for classes. The infrastructure is very Ugandan in
that it is brick, concrete, and plaster walls with simple chairs and desks. The
buildings have windows which open to allow fresh air to flow through the rooms.
The “U” shaped buildings which envelop an airy central lawn are further
surrounded by open areas. Thus, the physical environment is both pleasing to
the eye and a literal breath of fresh air away from the usual congestion of
downtown Kampala.
There is a canteen where one woman prepares fresh meals daily for those
inclined to fresh local food. There is room in the main building to eat if it rains
but, generally, everyone sits outside using a table and chairs under a big
mango tree.
The most important part of the environment is the relationship which is
45

encouraged between all those at school. Everyone socialises with the other.
The teachers are all cordial with each other and with the administration and
students. While there is deference to each other in accord with one’s position
there is also a relaxed interchange between all.
We have three departments that carry equal weight at school; The Classical
(traditional European model) department, The African Music department
(traditional African Music & Dance, and the Contemporary Jazz Performance
department of which I have been the Head of Department(HOD) since
September, 2012 having begun my tenure as an instructor in January of that
same year.
The HOD’s have academic board meetings bi-monthly where curriculum,
teacher hiring, enrollment, exams, concerts, fundraising, other matters arising,
etc., are discussed. We all agree that our goal is the overall betterment of the
school and the education of our students. We take note of what we are lacking
and where we have underachieved so as to continually be working toward
improvement. To that end the recruitment of teachers is critical. It is our policy
that all teachers must also “do”; that is to say that all our teachers are also
performing musicians. While having the theoretical and technical capability to
explain coursework and instrumental technique to students is a necessity it is
also expected that every teacher be adept at demonstrating their areas of
expertise. To this end we have two faculty performances per year where the
students are able to listen and peruse what their teachers have been discussing
all term.

46

As HOD I speak with the teachers in my department. We discuss the basics
expected of each student and any particular issues that we should be aware of.
I have to say that we have never faced an irreconcilable problem. There is an
easy going mutual respect between every member of the staff. Some of the
general expected outcomes of our teachers will be discussed subsequently.
There is a spirit of cooperation between everyone at the institution. From the
Principal of the school to the administrative staff to the teachers to the cook and
the custodial help, everyone is a member of the community. Everyone greets all
the others warmly. No one is unimportant.
One issue which I have become increasingly aware of during my tenure at
Berklee College of Music is the necessity of pronouncing every student’s name
properly. A student’s name IS his or her identity in its plainest form. Berklee, in
particular, spends countless hours of class time accentuating the importance of
creating the student/artist “Brand”. At its core, the foundational brand of
everyone is their name. It is self defining and is what other people recognise
and respond to. When someone’s name is mispronounced it is indicative of
disrespect. When someone’s name is mispronounced continuously it is either a
gross oversight or a deliberate sign of malicious disrespect. I took this very
seriously in my years as a teacher in elementary and secondary schools where
children are learning, besides coursework, concepts of respect toward their
teachers and fellow students. I have continued this as my teaching has gone on
to the university level. For years, I have made it a conscious point to have every
student’s name properly pronounced, without fail, by the third week of each

47

term or new school year. To do any less demonstrates a lack of empathy for the
student and a disregard for their individuality. Uganda presented new
challenges to this but I took these to heart and made the effort to be respectful
in my new environment.
As Ugandan’s generally do not have “family” names, as is common in the
West, my secondary goal is to memorise the name by which each student
prefers to be addressed. Most students have an African name and a Christian
or Muslim name and some have several names, all equal in stature and
interchangeable as to the order. For example, one of my daughters is named
Aruto Betty. She sometimes will write Betty Aruto. Either order is fine. I chose
her name for an example as it is both short and has a familiar Western name.
“Betty” should be easy to pronounce for Westerners. But what of Aruto? “Ah Roo - Toe” is correct though one must also be aware of the Ugandan
compunction to pronounce the letter “R” similar to the letter “L”. Therefore, she
may also be called “Ah - Lu - Toe”. The end result is somewhere between the
two letters. The important point is that, when first encountering a student, I will
ask which name they prefer and I memorise that name first.
One bass student is named Ovgilberto Nsubuga Omony. He prefers to go
by Omony. Another student is named Godfrey Lubega. He goes by Lubega.
This is not to be confused with Nalubega Angel though one must learn that “Na”
is a prefix for a Baganda woman, not a man, but it can be a prefix for a Musoga
man. You have to ask, politely, and then do your job and learn the name. Yes, I
consider it to be a core part of the job to learn to pronounce names correctly.

48

I discuss such issues because they do matter. These are things which are,
to my mind, overlooked in Western institutions. In comparison with Ugandan
daily life, Western culture displays a lack of warmth, a lack of interaction, and a
lack of respect, that inhibits meaningful learning. I imagine that most Western
educators will scoff at these statements as being ridiculous while a few others
may wistfully dream of such an environment, where the windows open to allow
a cool breeze to enter and every person is treated warmly. But this is the way
things are done in Uganda. I will refrain from attempting to decipher which
cultural attributes, those found in Uganda or those of the West, are more
primitive as that would be rude and Ugandans go out of their way to not be
rude. You can not separate the music from the culture as a whole. Despite great
diversity the society is not so fragmented as it is in the West. The curriculum
which follows is meaningless without understanding the cultural environment in
which it will be taught.
——————————————————————10. Project - Uganda Contemporary Music Curriculum
All Western Instruments and all Ugandan instruments will be
accommodated in this program as either a major or minor choice. As stated
herein, all students must study piano in some format. The reason for this is to
be able to apply Western concepts of harmony and composition which require
the knowledge of the twelve note chromatic scale and its derivatives based
upon the seven note major scale. The pentatonic scale, integral to much African
Music will be given more extensive study than in Western music programs.

49

In addition, a special emphasis will be placed upon rhythm, particularly
when desiring to combine Western and African traditions. The curriculum itself,
while always a work in progress, is presented below:

Contemporary Music(Jazz) Performance - Curriculum
130 Credits required to earn Bachelor’s Degree
All courses earn 4(four) credit hours toward a BA degree and meet for four
hours per week, usually twice per week, two hours per day. The main exception
is during the “Vacation Semester” during June/July when classes meet four
days per week in a condensed format.
The only exception to this is when a student may be asked to join an
ensemble, the orchestra, or the culture troupe to prepare for (by practising and
attending rehearsal for) a performance of that group which they are not
otherwise a member of. In this case the student can earn one or two additional
credits at the discretion of the Dean of Students in accordance with the effort
entailed.
11. General Requirements are as follows:
1) For at least four semesters the student must take private instruction on their
primary instrument whether it is a Western or African instrument. It is
encouraged for this instruction to be taken in each semester.
2) For at least two semesters each student must take private instruction on

50

piano (for non-piano majors) or, for piano majors, private instruction on a
secondary Western instrument
3) For two semesters each student must take private instruction in an African
instrument
4) For at least two additional semesters each student must take private
instruction on either piano (for non-piano majors), a secondary Western
instrument, or an African instrument
5) Each student must complete four terms of Elements of Music
(Elements of Music I, II, III, IV)
6) Each student must take Musicianship in Term I
7) Each student must perform with an ensemble each term (“Band Skills” in
Term I)
8) Each student must perform with orchestra in Term II & III
9) Each student must perform with orchestra or culture troupe (or both)
in Terms IV, V, & VI
10) In addition to these classes students are expected to perform at school
functions, including graduation ceremonies, fundraising concerts, and other
possible performances.
11) Students are also expected to attend at least one rehearsal of “YO (Youth

51

Orchestra) Africa”47 per semester in a mentoring capacity
Flexibility with given requirements is possible. However, any substitution
from the above requirements must be approved by the HOD and Dean of
Students.
What follows is an explicit course title outline. This list will always be subject
to change as the program develops and instructors bring their specialties and
ideas to the school. All course will not be available every semester. The courses
set down within the Contemporary Music (Jazz) Performance program is
comprehensive while those listed under the Classical and African Music
departments are only those normally made available to CMJP students.
-----------------------------------------------

12. Uganda Contemporary Music(Jazz) Performance

Curriculum
Course Titles:
CJ prefix = Contemporary Music (Jazz) Performance Department
MT prefix = Music Technology Department
CL prefix = Classical Music Department
AF prefix = African Music and Dance Department

1) One on one instruction
A) CJ 101/201/301 Major instrument
47

George Wabweyo, “YO Africa, Uganda’s first youth Orchestra launched,” New
Vision, June 5, 2013 , accessed June 25, 2018,
https://www.newvision.co.ug/new_vision/news/1321996/yo-africa-uganda-youthorchestra-launched

52

B) CJ 102/202

Minor instrument (required for pianists, optional
for others)

2) Piano
CJ 103/203/303

Piano for non-pianists as a secondary instrument
(required for all except pianists - major or minor

3) Ensembles
1) CJ 104
2) CJ 105
3) CJ 106
4) CJ 201
5) CJ 202
6) CJ 203
7) CJ 301
8) CJ 302
9) CJ 303

Band Skills - all first term students
Blues
Rock
R&B
Gospel
Jazz Fusion
African Fusion (Interdisciplinary with African Music and
Dance Department)
The Music of Afrigo Band
Jazz Standards

4) Contemporary Music Disciplines
1) CJ 107
2) CJ 108/109
3) CJ 207
4) CJ 208/209
5) CJ 210
6) CJ 310
7) CJ 311
8) CJ 312
9) CJ 313
10) CJ 314
11) CJ 315

Rhythm Studies I
Elements of Music I & II
Rhythm Studies II
Elements of Music III & IV
Composition I (CJ 109 prerequisite)
Composition II
Arranging (CJ 108/109/208/209 prerequisite)
Songwriting for TV and Film (CJ 109/210 prerequisite)
Introduction to Film Scoring (CJ 209/210 prerequisite)
Career Opportunities for the Performing Musician
Secondary careers for a Musician

5) Contemporary Music History
1) CJ 110
Jazz History - from USA roots to Worldwide
2) CJ 210
Western popular music since 1950
3) CJ 211/AF 205 West and South African popular music since the
Independence Movement
4) CJ 212
Ugandan/East African music history
(interdisciplinary with African MD)
———

———

53

———

The following are courses from the Music Technology, Classical
Music, and African Music and Dance departments from which our
students are required to take one from Technology and three classes
from each of the others.
6) Music Technology
1) MT 101/201/301
2) MT 202
3) MT 203/303
4) MT 204/304
7)

Recording Production
Music Notation software
Live Sound/DJ
Electric Instrument/Amplifier repair

Classical
1) CL 101
2) CL 102
3) CL 103
4) CL 201

Musicianship (required for all incoming students)
Orchestra (required for all each term after term one)
Classical music historical overview
Study of the music of J.S. Bach, W.A. Mozart, and L.V.
Beethoven
5) CL 202
Baroque Period
6) CL 302
Modern period - from Debussy to Stravinsky
7) CL 203
Chamber group (varies by semester)
8) CL 104/204 Ear Training I & II
9) CL 203
Sight Singing
10) CL 105/106 Western Music Theory/harmony
11) CL 205/206 Western Music Theory/harmony
11) CL 207/307 Composition I & II
12) CL 308
Arranging for orchestra and chamber groups
13) CL 107
Choir
8) African Music and Dance
1) AF 101
2) AF 201

Traditional music of Uganda, history and current usage
Private instruction of a Ugandan traditional instrument adungu, amadinda, akogo, tube fiddle, long drum, ngoma
drum (required for 2 semesters)
3) AF 202
Traditional dance - focused on dances found regionally
In Uganda - Baganda, Bakiga, Banyankole, Bunyoro,
Basoga, Itesot, Karimajong
4) AF 301
Traditional music & dance from selected African
countries -Ghana, Mali, Senegal, Zimbabwe, South
Africa, Rwanda, Kenya
5) AF 203
Historical overview of non-Ugandan African music
6) AF 204
East African popular music with an emphasis on
Ugandan artists
7) AF 205/CJ211 West and South African music since 1960
8) AF 102
Culture troupe

54

9) AF 302

Independent in depth research/study of an approved
national or regional music and dance tradition

Students may enroll on a full or part time basis. The selection of courses is
partially mandated by the particular term and prerequisites. All students will
meet with an advisor to discuss their goals and student status throughout their
time at school. The individuality of each student will be taken into account as to
their ability level at that time with particular emphasis in regards to the choice of
ensemble. The course load example given below is for that of a full-time student
doing the maximum allowed over a three year period. This included six full time
semesters plus two “Vacation” intensive semesters. This is intended solely as
an example of course selections.
13. A suggested course load by Year and Term:
Year One - Term I
Course title

credits earned

1) Private instruction on Major Instrument

4

2) Piano for non- piano majors (Or minor instrument for pianists)

4

3) Musicianship (from Classical Department)

4

4) Band Skills

4

5) Elements of Music I

4

6) —-> A 6th class is possible only with approval of HOD in term one.

(4)

a) Music History - dependent upon which is offered that semester

Or (b) Contemporary ensemble (upon approval of HOD)

55

----------------------------------------------------------

Year One Term II
1) Private Instruction on Major Instrument

4

2) Piano for non -piano majors (Or minor instrument for pianists)

4

3) Orchestra

4

4) Elements of Music II

4

5) Ensemble (choose from those offered)

4

6) Upon approval of HOD another elective may be chosen from:

a) Music History class being offered

(4)

Or b) an approved course offered in another

department

Total credits earned for Term 1 & 2 —-> 20 - (24) each term

Accumulated credits after Year One —-> between 40 - (48)

----------------------------------------

“Vacation semester I” - limited courses offered which meet four times weekly.

A maximum of two classes may be taken in this semester

1)

Jazz Ensemble to be determined

4

2)

Music Technology course to be determined

4

3)

Music History course to be determined

4

4)

African culture troupe

4

5)

Orchestra or chamber group to be determined

4

56

Vacation Semester study may earn between 4 - 8 credits maximum

Year Two Term 3
1) Private Instruction on Major instrument

4

2) Private instruction on African instrument; choose from adungu,

4

amadinda, tube fiddle, akogo, long drum, ngoma drum.

3) Elements of Music III

4

4) Orchestra

4

5) Ensemble

4

6) On approval of HOD another elective may be chosen from:

(4)

a) any 100 or 200 level class in the Contemporary, Classical, African,
or Music Technology Departments Or b) continue on piano or secondary
instrument or begin study of a new secondary instrument

Year Two Term 4
1) Private Instruction on Major instrument

4

2) Private instruction on African instrument continues; choose from adungu,
amadinda, tube fiddle, akogo, long drum, gnoma drum.

4

3) Elements of Music IV

4

4) Orchestra or culture group

4

5) Ensemble

4

6) On approval of HOD another elective may be chosen from: a) any 100 or 200
level course not yet taken and offered in the Contemporary, Classical, African,
or Music Technology Departments Or b) continue on piano or secondary

57

(4)

instrument or begin study of a new secondary instrument

Total credits earned for Terms 3 & 4 —-> 20 or (24) each term

Accumulated credits after Year Two —-> between 80 - (96) or up to (104) if
student attended first Vacation semester

==============================================================

“Vacation semester 2” - limited courses offered which meet four times weekly. A
maximum classes of two classes may be taken in this semester

1)

Jazz Ensemble to be determined

4

2)

Music Technology course to be determined

4

3)

Music History course to be determined

4

4)

African culture troupe

4

5)

Orchestra or chamber group to be determined

4

----------------------------------

Year Three Term 5
1) Private Instruction on Major instrument

4

2) Private instruction on African instrument, piano, or secondary instrument
or 200 or 300 level course not yet taken

4

3) 200 or 300 level CJ course not yet taken

4

4) Orchestra or Culture Troupe

4

5) Ensemble

4

58

6) On approval of HOD another elective may be chosen from:
a) any 200 or 300 level CJ, CL, AF, or MT class or
b) continue on piano or continue/begin secondary instrument study

4

Year Three Term 6
1) Private Instruction on Major instrument

4

2) Private instruction on African instrument, piano, or secondary instrument
or 200 or 300 level course not yet taken

4

3) 200 or 300 level CJ course not yet taken

4

4) Orchestra or Culture Troupe

4

5) Ensemble

4

6) On approval of HOD another elective may be chosen from a) any CJ, CL, AF, or
MT 200 or 300 level course or b) continue on piano or secondary instrument study

4

Total credits earned for Term 5 & 6 —-> 20 or (24) each term

Accumulated credits after Year Three —-> at least 120 if full time. To achieve
the 130 credits required for graduation with a bachelor’s degree an additional 10
credits must have been earned either in “Vacation semesters” or by adding, with
approval, to the normal full time course load.

=====================================

59

13. Expected Outcomes
The expected outcomes of such a curriculum for each student are as follows:
Categories (random listing not in order of importance):
1) Instrumental proficiency
2) technical skills specific to chosen instrument
3) music reading ability
4) music theory - rhythm, melody, scales, harmony
5) listening skills (music appreciation)
6) ensemble skills - solo, duet, small group to orchestral setting
7) composition
8) knowledge of other instruments
9) use of technology i.e.: recording, practice applications, notation software
10) business settings to employ music skills
11) teaching/mentoring skills
12) improvisation/creativity
13) ear training/transcription skills
14) jazz, contemporary, and African music history
15) basic piano skills/knowledge for non-keyboard players
16) crossover courses acknowledging the interactions of contemporary
musical styles with both the European classical and African traditions
(both of which have their own separate major fields of study within the
school curriculum).

60

=======================================
I have determined the above sixteen categories with the understanding that
there will be much interaction and redundancy between them. This is a positive
reality as each subject will clearly reinforce aspects of others. The natural
cohesiveness will make it easier for the student to grow from the foundation up.
None of these subdivisions act within a vacuum. Therefore, the main questions
become; 1) Where does one begin? And 2) What is the minimum amount of
knowledge expected to be gained from each of these subjects by the student
body in general?
Every student will be entering the program with their own distinct skills,
experience, perspective, and cultural background. To that end our
undergraduate program will be accepting students who range from pure
beginners on their instruments to professional musicians who have been
primarily self-taught and are now seeking skills with which to interact with the
greater musical community both within Uganda and internationally.
Taking these factors into account it is clear that the outcome for each
student will reflect this. However, our goal will be to determine the minimal
understanding to be acquired in each of these sixteen categories from all of our
students. Some of these will barely scratch the surface while others will go quite
in depth. This is to be based on the student’s prior experience combined with
their current interest. My belief is that every student should be introduced to
each of these concepts. How far they go with each will be determined as they
progress through the program.

61

For example, Composition is a subject that some students will embrace
greatly while others may even fear. We aim to give those who are enthusiastic
about the subject ample opportunity to explore this interest. Those with next to
zero interest will not be forced to sit through more than one course within one
semester. However, Composition is on the list as it is a critical element in
encouraging a musician to explore their creative side, to synthesise their
musical experience in their own unique way. It may open a door that they were
unaware of and it makes them better interpreters of music they will play in the
future as they will now have a comprehension of the inner workings of a piece
of music that they lacked prior to the class.
The consistent emphasis within the program will be on each student
improving their skills on their chosen major instrument. They will have a private
lesson and play in an ensemble every term. There will also be a handful of
performances within the school each term.
The overall emphasis for all students is on “feel” and “time”. This will always
take precedence over knowledge for its own sake or a technical approach to an
instrument that is devoid of expression. “Doing” is more important than
“knowing”. The goal is to incorporate both attributes but it is key to not abandon
the difficult task of connecting completely with the music at hand.
While we aim for a high level of achievement the minimum required
outcome for instrumentalists and vocalists (add/substitute “sing” to any
description saying “play”) would roughly be as follows:

62

1) Being able to play a chromatic scale from the bottom to the top of the
practical range of each instrument. We can safely describe this as a two octave
range.
2) Play a western major scale, a major pentatonic scale, and a natural minor
scale in all twelve keys.
3) Play the following scales/modes for two octaves in at least four keys: Dorian,
Mixolydian, Harmonic minor, Blues scale (1, b3, 4, b5, 5, b7)
4) Be able to play, and name, all the natural modes in at least one key: Ionian,
Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian.
5) Be proficient in reading any rhythm comprising whole, half, quarter and
eighth notes. There are only 72 possible permutations of these, along with their
accompanying rests, in one measure of music so this is very doable.
6) Understand sixteenth notes and both eighth and quarter note triplets
7) How to read a music “map”; chart reading with key and time signature,
repeats, codas, endings, dynamic markings, rehearsal letters, etc.
8) We would primarily be interested in these abilities being employed within an
ensemble context. Playing them alone is does not demonstrate a practical
knowledge.
9) Be able to count off a song to begin a piece within an ensemble context.
10) Be able to play three major scales on piano and also execute triads and
seventh chords in root position (for non-piano majors)
11) Be expressive at all times
12) Be able to improvise on a 12 bar blues and a second chosen song form
13) All playing should always “tell a story”
14) When combining all of these categories the goal is for each student to
develop their own musical personality

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Drummers:
1)

Will be given ample opportunity to play their instrument with fellow
musicians both formally within ensembles, recording situations, or
performances and informally in practice sessions.

2) Will have occasion to practice with a metronome or a click track
3) Will have cross department training with the culture dance troupe playing
traditional long drum and other drums
4) Will be instructed how to count off a song so that it is clear to fellow
musicians where the tempo is
5) Will be expected to learn to read both drum notation and lead sheets
6) Will be taught several basic drum grooves from the drum instructor so as to
have a foundation for ensemble playing.
7) Will be taught to “take charge” of an ensemble by playing both forcefully and
delicately but never with fear.

Our goal is that once a student has completed the program, and reached
these expected outcomes, he/she will have become a literate, performing
musician capable of interacting with other musicians from all corners of the
globe. While our program is designed with Ugandans in mind the scope is not
limited to a Ugandan musical experience. Furthermore, the graduate will have
attained qualifications and skills required to enter music performance master’s
degree programs offered outside Uganda if they strive for that international
experience.

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14. DESCRIPTION OF COURSES

The following is a brief description of the content of the courses which
appear the outline. There will be a lesson plan for the coursework that will be
constantly evaluated and subject to change, particularly in the first three years
of implementation. Some of the particulars of the coursework have been “field
tested” already while for others this will be breaking new ground at our
institution.
—————————————————————————————————
1) ONE ON ONE PRIVATE INSTRUCTION
PRIMARY or MAJOR INSTRUMENT
As the vast majority of our incoming students will have had little or no formal
musical training the assumption, unless shown to be otherwise, will be to begin
with the basics. Even students with a degree of experience usually have large
gaps in their technical of musical knowledge of their specific instrument as well
as music in general. The emphasis will be twofold, to get the student to learn
the fundamental techniques on their instrument necessary to produce a good
sound and also to learn those skills which will allow them to join a band,
ensemble, or the orchestra as quickly as possible. Ensemble playing will always
be at the core of the overall program. It is my firm belief that, while solitary
practice is absolutely necessary to work on new concepts, ensemble playing is

65

where one learns how to interact with others and this is likely to be the goal of
most students.
An underlying premise of all teaching concepts will be that the student is
being prepared to become a professional musician on this instrument. The
particular approach will vary and be dependent upon the philosophy of the
teacher, the given instrument, and the student themselves. The speed with
which each student progresses will greatly vary. It is my belief that it is better to
proceed at a pace that allows the student to comprehend new material fairly
well before moving on to the next step. Therefore, there will be no set lesson
plan that must be followed. Each student will proceed at their own pace with the
teachers keeping in mind the goals set out within our Expected Outcomes.
If there is particular issue that proves to be a stumbling block the teacher
will be asked to bring that to the attention of the HOD. Sometimes another
approach may solve the problem. Occasionally a teacher and a certain student
may not be a good match. While the aim is not to coddle a student we do hope
to create an environment where the student is able to thrive to the fullest extent.
Their primary instrument is likely to be the centrepiece of the student’s
experience at our institution so it is critical that care is taken for this be a
meaningful interaction between teacher and student.
The techniques taught will be instrument specific and determined by the
teacher, if need be with consultation with the HOD or fellow instructors. What
will be uniform is the necessity to have each student become literate, to be able
to read music. This is a cornerstone in the ability to perform with a variety of

66

ensembles, from jazz quintets to chamber groups to a Broadway pit band to an
orchestra to a recording session for a pop artist, a film soundtrack, or a jazz
fusion group. A fundamental goal of our program is to give our students the
skills to interact with musicians anywhere, or any time, in the future, that they
may find themselves in the world. Music reading is a core international
language and vital for a musician.
SECONDARY or MINOR INSTRUMENT
We offer this for a variety of reasons. First, many people desire to be multiinstrumentalists. We afford them that opportunity. Second, as we have many
beginning instrumentalists in our program this allows them to “try out” another
instrument which may end up suiting them better. Thirdly, it is helpful to
understand that different instruments face their own unique set of challenges
and learning the rudiments on at least one other instrument gives the musician
greater insight into those issues.
The general approach to teaching a secondary instrument will be the same
as for the primary instrument. Even though we call this instrument “secondary” it
could very well become a primary instrument one day. The student and the
teaching methodology will be treated as if this is their primary instrument. The
student will be expected to be able to reach a level of competency where they
can perform with school ensembles and the orchestra on this instrument.
2) PIANO FOR NON-PIANISTS
Knowledge of the piano (or keyboard) is critical to gaining a harmonic

67

understanding of Western music. Through a comprehension of the basics of
piano one can work out lessons in harmony, composition, and arranging, as
well as learning the instrument itself.
The goal here is not to necessarily have everyone become capable of being
a pianist but, rather, that all students learn the keyboard and how to employ it
for harmonic and melodic possibilities.
3) ENSEMBLES (See Appendix A for lead sheets of songs mentioned in text)
The ensembles are designed to give the student a “real world” learning,
rehearsing, and performing experience. During the term each ensemble will
give an informal performance for their fellow students. Those attending will be
asked to write a short review of the performance and it will be considered as an
exam in their Ensemble class. All ensembles will also present a performance at
the end of term that is open to the public where friends and family are
encouraged to attend.
The intention is to offer several ensembles, each with their unique style and
substance. The particular ensembles will vary from semester to semester
dependent upon enrolment, student interest, teacher expertise, and the infinite
possibilities with this subject. Listening to audio and watching video will be part
of ensemble class. Each student will be bringing a limited amount of exposure
to the styles of music to be covered. There will be audio and video assignments
to be done as homework to prepare for playing songs in class. Importantly, the
school library is to have a catalog of such materials at hand for the use of the
students as internet can be unreliable and costly for many.
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As stated earlier, one goal is to have drummers learn to lead a band through
their command of the time and groove. In our ensembles we will encourage the
drummer to think about the tempo and count off the songs with authority and
clarity. This will benefit the entire ensemble as they will begin the songs with no
doubt in their mind as to the tempo or groove.
Particular song examples will be explained in some depth with the Blues
Ensemble to give an idea of what is expected. The other ensembles have
briefer explanations, giving more general expectations and goals for those
groups. The choice of songs is to be flexible and ever changing. Each teacher
will bring fresh ideas to the concept of each ensemble. Students will also be
encouraged to suggest songs.
All songs played in ensembles will be discussed in a manner that can be
related to what they are learning in the Elements of Music class. All students will
be encouraged to also bring the songs to their private instruction teacher for
further clarification and for more in depth approaches. That said, here are brief
conceptual explanations for possible ensembles as listed in the course outline.
Input from all teachers as to the creation of future ensembles will always be a
topic for discussion.
BAND SKILLS
This is intended as an introduction to playing in an ensemble. Incoming
freshman will be required to take this course. It will introduce ideas such as; a)
counting off a song, b) knowing where “beat one” is, c) the concept of a key or
tonal center, d) playing unison figures, e) the interaction of a rhythm section,
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and f) the distinct and interactive roles of rhythm, melody, timbre, and harmony.
We will listen to some songs and ask the students to tap their foot along to
the rhythm. These will both be chosen by the teacher and also by the students
to show how the same concepts apply to all music. Occasionally there will be a
discrepancy between a song felt in “four” or one felt in ”two”. We can use this as
a teaching opportunity to discuss the relationship of the quarter note and the
half note.
We will also explore how nature can be incorporated into music. For
example, there is a common dove in East Africa which I have heard “sing” in
Kenya, Tanzania, and Rwanda as well as daily in Uganda. Everyone living in
Uganda knows the sound of this ubiquitous bird. While its rhythm does, at
times, vary slightly it most frequently sings a particular phrase that can best be
transcribed as two bars of 6/8 time signature.

Figure 5.East African Dove Melody based on commonly heard bird call

This common song can be used to indicate pulse, teach notation, time
signature, note duration, and rhythmic variations as some birds do stray quite
far from the original “groove” yet are always recognizable in relation to the most
70

common rhythm.
BLUES
Here we will introduce the idea of song form. A 12 bar blues is a very
common song form found in nearly all rhythmic styles of music. It also allows us
to introduce the harmonic concept of I, IV, V chord changes and how they are
“the same” even in different keys. This will tie in nicely with the Elements of
Music course. We will have students read the chord changes to learn some
songs and have them learn others by ear. The rhythm section will be introduced
to at least two different groove ideas. We will play songs in two or three different
keys which increases competency on each instrument as well. This ensemble
can accommodate vocalists or be instrumental in nature.
For example, the first song introduced will be Duke Ellington’s “C Jam
Blues”. This is selected for several reasons, primarily that it is one of the
simplest melodies to play yet sounds like a song rather than an exercise. Only
two pitches are employed, a concert “G” and a concert “C”, the five and the one
of our tonal center, C major. That melody also employs a lot of space so that it
is easy to play technically on any instrument, and, mathematically, it fits
comfortably over four bars and repeats itself three times.
The song also introduces the swing feel and can easily be played by even a
beginning drummer, or a non-drummer, by simply playing quarter notes on the
ride symbol and beats two and four on the hi-hat. The bass player can be given
a repetitive quarter note walking bass part and also be encouraged to
incorporate other notes. The chord players will be given simple voicings on
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keyboard or guitar as well as a rhythmic pattern such as a dotted quarter note
followed by an eighth note and two beats of rest.
In keeping with the swing/walking bass feel we will choose from songs such
as Sonny Rollins’ “Sonnymoon for Two” which is a much more complex melody
but, similar to “C Jam Blues”, uses a four bar phrase that repeats itself three
times while the twelve measure harmonic cycle progresses. Once the student
learns four measures of melody they know the entire song. “Sonnymoon” also
introduces the idea of starting a melody on an upbeat, the “and” of one, rather
than on the downbeat.
Another song in the same genre is “Blues Walk” by Clifford Brown which
takes the melody a step further. The first four bar melodic phrase repeats itself
over bars 5 - 8 but is then “answered” by a new phrase over bars 9 - 12. Those
last four bars are frequently repeated two additional times the final time that the
melody is played which affords us the opportunity to introduce the Coda sign
and the concept of a “tag” which gives a feeling of conclusion to a song.
As a second style we can introduce a shuffle which will use an easily
repeatable bass line using the root, octave, dominant seventh, and fifth as the
foundation of the rhythm section. The drums and chordal players will be shown
their appropriate, complementary parts. There are many songs to pick from, and
example being “Sweet Home Chicago”. Or, a vocalist may be asked to write
their own lyrics to fit the groove. This is a way that I have found starts one on
the path to composition. If you ask someone to write lyrics they frequently will
compose a melody without thinking about it whereas, if you ask them compose

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a melody they have a greater tendency to get a mental block about it. This is
consistent with our overall concept of encouraging creativity from all directions
rather than having an approach that comes from a more “criticism based”
perspective.
Several examples, using a variety of grooves, may be used in playing songs
in this 12 bar blues ensemble scenario. The make up of the particular musicians
and the ideas of the teacher will be factors. As with all ensembles, the choice of
material is encouraged to be flowing rather than stagnant.
ROCK
The Rock ensemble will accentuate the concept of quarter notes and
straight eighth notes. We will begin with a 12 bar blues as this is familiar
territory in terms of harmony. We will then proceed to a different song form but
choose a song which only uses I, IV, and V chords so that, again, we are in
both a recognisable harmonic and rhythmic area while still expanding our
conceptual mind. Lastly, we will introduce minor chords with a song using I, VI-,
II-, V chord changes.
We may take a shuffle that was played in the Blues ensemble and
“straighten out” the feel to demonstrate how melodies, chord changes, and the
notes of a bass line can be interchangeable and how the groove is the life of
any song.
A song such as “Comin’ Home Baby” by jazz flautist Herbie Mann serves as
a bridge between jazz and rock. We can employ music from artists/bands such

73

as Chuck Berry, Bo Diddley, The Beatles, Jimi Hendrix, The Allman Brothers
Band, and Stevie Ray Vaughn to demonstrate rock styles.
R&B
R & B allows us to introduce funk rhythms and sixteenth note based
syncopation to the students. The choice of songs will depend on the level of the
particular students in the ensemble. However, the songs will generally also be a
little more harmonically adventurous as there will likely be dominant 7th’s, b5,
#5, and suspended chords added to the mix.
We may begin with a song such as “Blue Moon” which serves to introduce
the I VI II V chord progression. Further music examples to be featured may
include songs from several “Motown” groups including “The Supremes”, “The
Four Tops”, and “Smokey Robinson and The Miracles”.
This will also include such artists as James Brown, Sly and the Family
Stone, Marvin Gaye, and Stevie Wonder. These performers also used their
platform as beacons for social change. James Brown was particularly influential
in raising the consciousness of the African diaspora in North America. Marvin
Gaye, whose career began as a crooner, risked his star position by ignoring
social constraints and releasing albums such as “What’s Going On”. Stevie
Wonder continues to be a source of inspiration for all of humanity to this day.
GOSPEL
One aspect of this ensemble is that, for many students, the musicians will
now “see”, and analyse, what many of them have either been hearing or,
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perhaps, already playing in church. We will also see how the gospel style has
affected the jazz and popular worlds through songs such as “Mercy, Mercy,
Mercy”, made popular by alto saxophonist Cannonball Adderly but composed
by his Austrian keyboardist, Josef Zawinul. Ray Charles and Aretha Franklin are
two pop artists who frequently drew inspiration from the gospel tradition. Gospel
music tends to use all the chords dealt with in the earlier ensembles and then
may add major 7th’s, #11, and 13ths to the harmonic palette.
This is a style of music that several of our students will likely be quite
familiar with. As a result, this ensemble, more than others, will ask the students
to submit their selections, in week two, of songs for us to explore. They will be
asked to listen for recordings of songs that, at least on the surface, appear to be
technically easy to perform. The rhythms tend to use more variety and tempos
can vary from slow ballads to quite up tempo grooves. This can be quite
challenging to do well for many students. We will likely introduce the gospel
take on a shuffle groove at this juncture.
JAZZ FUSION
Jazz Fusion can be traced to explorations of the 1960’s where jazz met rock,
or, when the acoustic based traditions encountered electric instruments.
Besides going electric one aspect that delineated Jazz Fusion (in fact, in the
early years such music was given the moniker “Jazz/Rock Fusion”) from the
jazz of the time was the use of the heavier backbeat on the drums, more similar
to rock or R & B styles of the period. The ‘father’ of Jazz Fusion is generally
thought to be Miles Davis with his record, “Bitches Brew” as the seminal

75

example of this new music coming to fruition.
This ensemble adds more complexity and intensity to our experience. We
will use less common root movement, pedal tones, and “slash” chords such as
C/F which introduces another new harmonic direction. This music also tends to
make greater demands on the musicians’ “chops” as they play more difficult
passages and/or faster tempos. Methods of negotiating improvisation over the
more complex chord changes will be a topic for discussion. We may also
introduce odd time signatures with this style. This ensemble will likely serve as
an introduction to the music of Chick Corea, John McLaughlin, Weather Report,
Pat Metheny, Marcus Miller, Polo Orti, and Yellowjackets, among others.
This is the one ensemble that will be restricted to instrumentalists as the
style of music is rarely conducive to vocalists. Only upon petition to the
ensemble instructor and the HOD will a vocalist be considered for this group.
The reason is that the singer would spend a lot of time either struggling with
little reference to draw from within the style or sitting silently while waiting for
their limited opportunity to participate.
AFRICAN FUSION
Here is where we put together all that we have grasped in two full years of
studying Contemporary music while being able to incorporate at least the basics
of African music. How do we put an adungu and the amadinda into a band with
keyboard or guitar and electric bass and drum set? We will also be dealing with
polyrhythms and meters such as 6/8 or 12/8. How can we compose music that
is interesting yet can be orchestrated around an instrument such as the akogo
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which uses a pentatonic tuning scheme? This will be organised in conjunction
with the African Music and Dance department so we will get input from two
directions.
The second part of the multi-media presentation48 given in accordance with
this Culminating Experience paper will be partially based on the practical
application of this ensemble as one end result of this Contemporary
Music(Jazz) Performance program. The video presented will demonstrate some
traditional African instruments in a solo context, in a traditional context with
culture dance, and in an African Fusion ensemble.
The map below details the locations outlined in the video. That is, the akogo
comes from the Teso area of the northeast; the tube fiddle is from Busoga in the
east; and the adungu is from the Alur people of the northwest, West Nile region.
The amadinda is not shown in the video but photos of this instrument of the
xylophone family are shown later within this text. The amadinda is native to
Buganda in the central region of Uganda. Not shown on this map is the origin of
the ngoni as that is from Mali in West Africa.
There are several other instruments native to Uganda, East Africa, and
Africa as a whole which are not described here as our scope is limited. All
students of African music are encouraged to dig deeper as the heritage
throughout the continent is rich.

48

Weigers CE accompanying video Part 2 Ugandan Instruments (pg. African Fusion
Ensemble) Videography by Chris Weigers, Jiro One, and Eric Mukalazi Youtube link
https://youtu.be/cRYCm2q_Y44

77

Figure 6. Uganda Map (with specified regions from text circled by CW), accessed June 25, 2018,
http://www.nationsonline.org/oneworld/map/uganda-map.htm

In addition, the plan is for me to play my bass along with three videos of an

78

African instrument recorded alone. Here we will explore some possibilities of
fusing these otherwise distinct styles of music into one cohesive musical entity.
The solo context will allow the audience to clearly see and hear four
traditional instruments, three from Uganda and one which originates in Mali.
These videos feature a colleague of mine, Samuel Nalangirla, who is an
virtuoso musician, composer, dancer, and choreographer within several African
traditions. Samuel introduces each instrument and shares some of his personal
background and experiences.
After introducing each instrument verbally Samuel is first shown
demonstrating the tube fiddle (see figure 7 below), from Busoga49, playing a
piece employing the F# major pentatonic scale. Once we get this sound in our
ears the video shifts to the M-Lisada Culture Dance troupe performing a
traditional Kiganda dance called Bakisimba. The tube fiddle is a featured
instrument amongst the assembled musicians. Also seen in the video are
several drums. The long drum, recognizable as being narrow and of higher pitch
acts as a sort of “lead” instrument that guides the dancers through their intricate
moves.
At M-Lisada, a children’s home, the culture troupe trains daily. Acting
secondarily, M-Lisada also serves as a de facto community center where
children flock to learn not only traditional music and dance but also to play in
the brass band. It is an energetic environment where dozens of children get free

49

see map of Uganda on above page with the regions cited in text highlighted
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instruction in the performing arts. The dancers seen in this video are between
eleven and sixteen years of age.

Figure 7. tube fiddle played by Samuel Nalangirla

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Figure 8. drum from Mali played by Mame N'Diack Seck Thiam

Here is the background to the song as described by one of the dancers
seen in the video, Sarah Inne.50”Bakisimba is a royal dance and the official
entertainment of the Kabaka (King) among the Buganda. It is believed to have
originated in the “Lubiri” which is the palace of the King of Buganda.
The subjects of the king in the palace gave the Kabaka to taste a drink that
was being made from a certain type of Matooke. After taking, the king started
praising the people who had made the beer, saying abaakisiimba, which means
‘those who planted the bananas’, and bebaakiwoomya, ‘they made it delicious’.
While saying those words, the audience noticed that the Kabaka was overly
excited. However, it is a taboo to say that the king was drunk. The musicians

50

Sarah Inne, e-mail message to author, March 26, 2018

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started playing drums mimicking the king’s words and a group was selected to
go in the compound and walked gracefully while imitating the king’s
movements. This eventually became a dance.
There are three major movements in this dance; Baakisiimba, Nankasa, and
Muwogola. The one in your video is Nankasa which is a bit speedy, however
the reason why it is called Bakisimba is because it is the main movement of the
dance. All the songs sung, praise the king.” Culture dances always tell a story
and/or impart a message to the audience.
As explained earlier in this paper the Baganda are the largest tribe and
linguistic group in Uganda. Kabaka is the Luganda word for the king of
Buganda51. The matooke she refers to is a certain kind of banana. There are
five different kinds of bananas grown in Uganda and this one is specifically
used to produce this beer. As with most traditional music there is storytelling
involved and also a sense of historical narrative. There is little that is purely
“entertainment”.
Next we listen to Sam playing akogo (see Figure 10 below), a cousin of
several forms of “thumb piano” found in many regions of Africa. For example, in
Zimbabwe it is a bit larger and is placed within a large half gourd which
amplifies the sound. This Ugandan akogo originates in the eastern part of
Uganda and is native to the Itesot people who live in Teso52 and whose largest

51

see Figure 6. map of Uganda above with regions cited in text highlighted, including
Buganda
52
Ibid

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town is Soroti which can be found on a map of Uganda near to Lake Kyogga.
In a solo context we find Sam playing his akogo tuned to a Bb major
pentatonic scale and he is playing in 6/8 time signature. I will play my bass
along with him here. We have two clear options in terms of groove; we can work
with the pattern being played in the akogo or we can somewhat ignore that and
instead focus on the pulse being generated by his foot with the bead shaker
attached. After the rhythmic considerations we shift to the harmonic
possibilities. Must we stick to only a Bb root? Is there only one chord? Can we
impose more chord changes against his repetitive pattern by the strength of
root movement? From the notes contained in this scale; Bb, C, D, F, G we can
conceive of many chords. Using each pitch as a root we can easily construct:
Bb major, Bb69, C9sus4, Dmin11, Fsus, Gmin7. Therefore, without changing
the akogo pattern we can compose a song, or a bass line, with any of those
chords in mind. We can also move further away from these tonalities but, if no
alteration of the akogo is made there will be resultant tension though this may
add character to the piece.
Below are three quite different approaches to a bass groove that fits the
akogo ostinato pattern. In a group setting choices would be made communally
between all the players, particularly the akogo player, the drummer (Western
drum set), the ngoma (African drum) player, the bassist, as well as guitar. The
groove is created by consensus.

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Figure 9. Bass grooves to accompany akogo song

As with many fusion styles of music part of the beauty is that there are
an abundance of “rules” or traditions to draw from while at the same time there
are no constrictions. Creativity is accentuated. If the resultant experimentation
“feels” good, it is good.
We next move on to a Jazz Fusion group context with this same akogo in
Bb playing a similar pattern. But now we have a group with electric guitar,
electric bass, alto saxophone, drum set, Senegalese talking drum, and
Ugandan ngoma(drums). The song begins as a jam in the key of G minor (listen
to the guitar) which fits the Western ear easily as it is the relative minor of Bb
major. Then, while the guitar is still in G minor, the bass shifts to Bb major and

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directs the alto sax to play the well known instrumental R & B song “The
Chicken” by Pee Wee Ellis which was popularised in the jazz world by bassist
Jaco Pastorius. In this excerpt of “The Chicken” the Bb major section sounds
fine. When the harmony jumps up to the IV chord the Bb of the akogo still works
fine in what I describe as a sort of reverse pedal function. Instead of simply a
bass pedal tone we have a pentatonic pedal pattern. Next, when the chord
shifts to the III chord we feel some dissonance but it quickly is forgotten when
we land on the VI and then the II dominant. This C7 chord is consonant with the
Bb pentatonic scale as it gives us the dominant 7, the root, 9th, 11, and the
perfect 5th. The well-established Bb major pedal pattern works throughout the
song. And, of course, the akogo is playing a constant hypnotic groove
throughout which adds to the harmonic consonance.

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Figure 10. left: akogo; right: ngoni or kamelngoni

Our next featured instrument is from Mali, West Africa. It is called the ngoni,
or kamelngoni (see Figure 10, above), and is related to the kora which is
perhaps the most well known of West African instruments. There are two rows
of notes so each hand has its own organization of pitches to work with. This
African harp gives the listener another colour to appreciate. The piece played
here hints at more chord changes than the akogo did. We can hear how the
nature of this instrument lends itself to diatonic composition. Below are two
ways to approach this ngoni (see Figure 11 below) composition along with,
perhaps, the most common way to extrapolate chords from the given part:

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Figure 11. Bass groove choices for ngoni song

The final instrument that Samuel demonstrates in a solo context is the
adungu. It is a smaller type of harp which comes from the Alur53 people who live
in the West Nile area of north-western Uganda. The source of the Nile River is
found in Uganda, near the town of Jinja, and is originally fed by Lake Victoria,
the second largest lake in the world. As it travels north, then west, and then
north again, it cuts a path through Uganda. Proceeding through and beyond

53

Ibid

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Lake Albert the western side of the river is referred to as the West Nile Region
of Uganda. Here we find several ethnic groups, one of whom, The Alur(see
Figure 6 above), are the creators of the adungu.

Figure 12. Price Love playing the adungu (photo courtesy of Price Kwaggala)

Traditionally the adungu was tuned to a pentatonic scale though today it
may also be found in diatonic major scale tuning. While this gives more

88

harmonic options than a pentatonic tuning we are still without the five remaining
notes of a Western chromatic scale. Here we find Sam playing a song called
“Olugendo” in a style that could be termed a ballad. The excerpt here is a single
repeating phrase with the adungu tuned to the key of Ab Major. The approach
that works best with such a song is akin to how one would create a part with a
guitarist in a Western style of music. Of our examples, this piece displays the
most similar traits to Western music. We would decide on a kick drum pattern,
or ngoma groove and create a bass part based upon the chord changes as
seen in the example below:

Figure 13. Bass groove to accompany adungu song

Lastly, we jump to a full band song, Saama Dome (or Sommerdo), that
combines African traditions with those of the West. This group, Sabar Zibula,
uses the same instrumentation as seen earlier except that Samuel is now
playing adungu (tuned in Db major). Joining the band are four culture dancers
who are fully incorporated into the music. They are not merely doing

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choreographed steps in a corner of the stage. Neither are they the primary
focus with the musicians serving the function of a pit orchestra for a dance
performance. They are equal and integral members of the experience. Music
and dance working together is an African tradition. This suits, in my eyes, what
could be an apt example of an African Fusion Band. As this is a genre in its
infancy this is yet to be decided. Time will tell.

Figure 14. "Gig Man Set Up" Ugandan style; Kamelngoni, two adungus (tuned to different keys) and an
akogo. The water is for pouring on the tuning pegs for them to swell and hold pitch after tuning.

An instrument not seen in the video, though mentioned at the beginning of
this description of African Fusion Ensemble, is the amadinda. This is one of

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several forms of African Xylophones found throughout the continent. The
amadinda is tuned to a pentatonic scale, frequently in the key of G major. There
is a larger xylophone found in Eastern Uganda which is played by several
people at once, straddling both sides and each playing in a certain area of
notes. A large hole is dug into the earth to prepare for a performance. The
instrument is then placed over this trench as it uses the ground itself for the
resonating chamber. The amadinda seen here is more common and somewhat
portable. The bars of the instrument are struck at their edge by the sticks, not
on the top as a Western marimba or vibraphone is usually played. The photo
below demonstrates this technique. The final instrument we will discuss is the
bass adungu which, as expected, serves a bass function in a traditional
ensemble setting. It is most commonly tuned to a pentatonic scale and can be
seen in the photo below to the right of the amadinda player.

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Figure 15. Amadinda with bass adungu to the right of the amadinda player

Figure 16. Tuning one amadinda to another

Figure 17. Tools of the trade for tuning an amadinda: one panga

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THE MUSIC OF AFRIGO BAND
Afrigo is the longest running band in Uganda, now having past 40 years
since its inception. Its leader is the legendary Moses Matovu who plays alto
saxophone and shares lead vocal duties. Our ensemble will use the music of
Afrigo to explore Ugandan popular music trends over more than four decades.
We will also be able to incorporate culture dancers into our performances. If
possible, we could arrange a sort of “field trip” to watch Afrigo perform in
Kampala. It would also be a goal to bring members of the group to school to do
workshops and to provide encouraging examples of musicianship to our
students. Two current members of Afrigo are colleagues of our teaching staff
and they have expressed interest in sharing their knowledge and experience
with our students. Julius Nshaba is one of Uganda’s finest drummers and Joel
Kiyegga is an outstanding guitarist and they would have much to offer a young
musician.
JAZZ STANDARDS (reminder - see Appendix A for lead sheets of songs
mentioned in descriptions of Ensembles)
Jazz Standards ensemble will allow us to draw upon all chordal possibilities
and accentuate, though not be limited to, the 32 bar song form. This is where
we can go through the jazz literature from Louis Armstrong and Duke Ellington
through the bebop era of Charlie Parker and Thelonious Monk (“Blue Monk”) to
Charles Mingus, Sonny Rollins, Miles Davis (“Freddie the Freeloader”), and
John Coltrane. Ballads, 3/4 waltzes, ‘Rhythm’ Changes, Minor Blues, and swing
will be available to this ensemble. Included in our repertoire will be an Abdullah

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Ibrahim54 song entitled “Nelson Mandela”. Ibrahim, from South Africa, was one
of the first African musicians to be accepted into the jazz mainstream. Benny
Golson’s classic “Killer Joe” is a good introduction to a swing style with a
technically simple, yet memorable, melody. Another song may be the Sonny
Rollins composition “St. Thomas” which introduces the concept of cut time with
a very singable, diatonic melody, and shows the connection between jazz and
the calypso style found in the islands of The West Indies.
As stated in the opening paragraph on “Ensembles” there could easily be an
ensemble that is purely “The Music of Miles Davis” or “The Music of Duke
Ellington”. The possibilities are, in fact, endless.

4) CONTEMPORARY MUSIC DISCIPLINES
RHYTHM STUDIES I & II
The essence of all music is rhythm. This course will begin with the definition
of music being “The Organization of Sound and Silence”. Sound and silence
can certainly exist apart from music. However, for them to then be considered
as music the primary way in which the organization occurs is through a
recognizable, and therefore explainable, rhythmic context. We begin by finding
the pulse within any given piece of music. We then listen for the sense of
repetition as we discern how that pulse is, in fact, numerically recurring.

54

Ben Sidran, Talking Jazz: An Oral History (Petaluma, California: Da Capo Press
edition, 1992, 1995) pg. 150 - 158

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Eventually, from this cadence we can infer what musicians have designated as
time signature. In this sense, rhythm is at the core of all music. It is the primary
requisite, prior to the abstraction of pitch, for making music.
The correct notes, played without rhythmic accuracy or intent, are simply no
longer truly correct. With that understanding this course will deal exclusively
with rhythmic concepts, regardless of instrument. While designed as a first year
course the rhythmic complexity that is achieved will be quite developed.
Employing both written and “by ear” examples, by the end of this class students
will understand rhythms using whole, half, quarter, eighth, and sixteenth notes.
The idea of groove, time, and feel will be encouraged. All rhythms will be
explained in 4/4 time signature and how all of the rhythms we deal with this term
can be explained either by being doubled or halved in value, depending upon
our starting point.
Rhythm Studies II will reinforce what was learned in Rhythm Studies I and
then add to it. We will introduce the concept of quarter note and eighth note
triplets. We will have students playing differing rhythms concurrently to enter a
polyrhythmic world. Both 2/4 and 3/4 time signatures will be played to get the
students thinking in groups of 2’s and 3’s. This will lead to a study of odd time
signatures, which employ organised groupings of 2’s and 3’s. We will also study
some African rhythms such as that of the Baksimba of the Baganda to both
“feel” and comprehend intellectually the parts played by the different drummers.

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ELEMENTS OF MUSIC I, II, III, IV
Elements of Music is a combination of information that is commonly needed
to be a literate musician. It will largely cover melody and harmony but also will
focus on how rhythm interacts with those to create meaningful music. The
course will go from the basics in a manner that will be complementary to the
music played in ensembles. Students will attend class with instruments in hand.
As we discuss a new topic they will play the examples. The student will see how
the knowledge being disseminated applies to their particular instrument. The
teacher will also frequently intersperse audio and video examples to
demonstrate subjects being covered in class. The thought behind this is that
music must be heard for any description to make sense. The goal is that no
musical concepts will be handled in a purely theoretical manner.
The classes will incorporate all that was learned in the Rhythm Studies
class and see how this relates to real song applications. For example, the
quarter note triplet will not only be explained in mathematical terms but with a
musical phrase such as the first three syllables of the titular lyric from a well
known song such as “Isn’t She Lovely” by Stevie Wonder.
Over the four terms that the course is given students will learn about key
signatures, time signatures, odd time signatures, bar lines, coda’s and segno’s,
repeat signs, rehearsal letters and numbers; in short, all the symbols needed to
navigate a piece of music accurately.
We will discuss the major scale and how we can assign a number to each
degree of that scale. We will discuss the chromatic scale and the pentatonic
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scale. We will analyse the natural modes and other scales such as the whole
tone scale, melodic minor, and harmonic minor.
Knowledge of the major scale will be extrapolated to lead to an exploration
of chords, from root movement to triads built in thirds using every other note in a
scale; major, minor, diminished, augmented, and the “exception”; the
suspended chord. From there, Major, Dominant, and Diminished 7ths will be
illustrated. The course will explain how, continuing in thirds, we add the
extensions of the 9th, 11th and 13th and their altered possibilities, b9, #9, #11,
b13. We will include the page describing all 79 possible chord permutations
from Chuck Sher’s “The New Real Book” as a reference (see Appendix A).
Ear training and Sight Singing are courses offered within the parameters of
the Classical department and are available as suggested electives for our
students. Elements will include a cursory amount of these disciplines though it
is encouraged that, at least, Ear Training being taken from the CL department.
The attempt is not made here to separate this information into four distinct
term long “lesson plans”. Rather, this information is intended to be disseminated
at musically appropriate times. It will then be used in a practical manner several
times throughout the learning process, being reinforced over and over. That is,
each detail is not designed to be explained once and then (more or less)
forgotten about, as much in academia is taught. Rather, this information will be
both accumulative and recycled, much as it would be by a professional
musician. The overriding goal is to provide useful information to the music
student that will, in fact, be deployed as a musician in the future.

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Together with learning how to read music, in Elements of Music we will also
be learning how to write a music chart. The goal is to be able to absorb and
interpret musical information and then to also explain that to another musician
in the language of music. If one writes a song one would hope to have it played
or published one day. We wish for our students to have learned the skills
necessary to write their own music down on paper. Can they determine the time
signature? Can they then count how many bars long each section is? Do
sections repeat? What are the names of those chords they found upon the
piano? If they sing a note, can they find it on the piano and name it? With our
focus on rhythm all students will be able to write the correct rhythm of any
phrase they hear. All students will learn the skills needed for deciphering what
they “write” and then be able to “write” it down for a fellow, literate, student to
play.
The course will also analyse songs being played in ensembles during that
same semester to both bolster the sound of that ensemble and reinforce the
lessons given in the Elements class. How do the melody notes fit against the
chord changes? Why does a certain passage sound beautiful while another
seems dissonant? What creates tension and release? Elements will always be
partially based upon the music being practiced by the ensembles. In this way,
both the ensembles and the Elements class are always a living, breathing
entity. To reiterate, the music will be learned, heard, and performed.

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COMPOSITION
Composition may be taken by second or third year students. The first two
terms of Elements of Music are a prerequisite. In “Elements” we learn how the
pieces of music work to form a whole and how to analyse bits of music we are
playing in ensembles. In “Composition” we now learn to put pieces of music
together from scratch.
In a sense, there are no rules in Composition, in that you can do almost
anything. There are no hard and fast rules when you are seemingly constructing
something out of thin air. In the end, if it sounds good, it is good.
While this is a truism there are also several guides and accepted pathways
to a good composition. We will look at the material covered in Elements and in
Ensembles, only now from a different perspective. We are not figuring out how
to play or analyse someone else creation. We have set off to create our own.
Where do we start? We need to come up with the germ of an idea. It can be
a melodic fragment or a rhythm, or a groove, or a pair of chord changes. We
can pick an idiom or a tempo.
Here we will begin will established song forms and work from there. Our first
composition will be a 12 bar blues. At this point we all understand, both
intellectually and through experience, what a 12 bar blues sounds like. Each
student will pick a key, pick a groove, pick a tempo, and go from there.
Next we will pick a well known standard that employs a 32 bar song form.
We will appropriate the chord changes and write our own original melody. What
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sort of groove does the student want? Decisiveness is not as easy as it seems.
Part of composing is choosing what NOT to do.
Lastly, in Composition I, we will take a Bossa Nova rhythmic style and write
a song with only that in mind. Chord changes and melody will have to fit into the
Bossa groove. The form will also be flexible though groups of 2, 4, or 8 bar
phrases are the most practical.
In Composition II we will look at beginning a song by first selecting a song
form. Second, choose the groove and the tempo. Then fill in the chords. Lastly,
write a melody. Then begin again and reverse the process. That is, write a
melody and then add chords. Then decide on a tempo and a groove. Has the
song form already been decided implicitly or do we have to add bars of long
tones or rests for the form to “feel” right?
Next, we will compose in an odd time signature. We will choose from 3/8,
5/8, 7/8, 9/8 or 5/4 or 7/4. We will pick two chords and organise them into an
eight measure phrase which repeats. The next task is to write an eight bar
bridge where either the chords change, the time signature changes, or they
both change. Then return to the original two chords with the same melody but
give it a subtle twist to sound like an ending.
Lastly, the student will write whatever they want. It can be an instrumental or
vocal tune. It can be in any key, major or minor. It can be in 4/4 or any time
signature. In may follow a standard song form or follow wherever the creative
path leads. The only guideline is that it, in the end, it sounds like a coherent
song. The student will be asked to explain, in essay form, what did you do to
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achieve this? What was the inspiration? Where did the creative spark interact
with the intellect to solve a problem?

ARRANGING
This course can be taken after the completion of all four semesters of
Elements of Music. The foundational knowledge therein is necessary to grasp
the possibilities inherent to arranging. The first discussion will be to distinguish
arranging from composition. From there we will listen to examples of songs that
have been recorded with distinctly different arrangements. We will ask, why was
this done? And then we will ask, how was this done? What is the thought
process? Arranging is the aspect of music creation that asks more questions
than other disciplines. It also will require the students to listen and discuss
examples more than in other classes.
We will also draw on the practical knowledge gained in ensemble classes.
At this point our students should comprehend and recognise differing rhythmic
styles. The approach of the rhythm section determines the foundation of a new
arrangement. What are the instruments to be written for? Then we will get to the
core of the subject, the harmonic implications. What style of music are we
operating in? Is there a musician we can emulate to achieve our goal? There
are many questions to be posed and answered. It will be a “hands on” course
with students writing both short segments and then full song arrangements.
Learning from each other’s arrangements will also be an important aspect.
Hearing examples is central to the process as, while there is much that is
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theoretical to cover, ultimately this is a discipline that requires practical
experience and usage. I will also use examples of arrangements I have written
and recorded on CD for reference, discussing the process concerning original
material and arranging a cover song. I will then play a recording of the original
version of the song and analyse the differences in my arrangement in all
aspects; rhythmically, harmonically, and the choice of instrumentation.
SONGWRITING FOR TV AND FILM
The course will first distinguish itself from film scoring. Our focus in this
class is writing songs, vocal or instrumental, that would be composed with the
idea of being placed within a film or television show. Such songs are used more
often in the current commercial film and TV industries than in the past. They
are designed to fit into particular genres that are easily identifiable and be able
to quickly convey an emotional element without being too specifically
descriptive. We will look at video clips of three to five-minute duration, discuss
what may be the context, and have each student write a song to fit their
interpretation of that screen image.
Two terms of Elements of Music and one term of Composition are
prerequisites for joining this course as the basics of harmony, notation, and
composition techniques are necessary.
INTRODUCTION TO FILM SCORING
Film scoring is a huge subject and this course will not attempt more that it’s
title claims to be - an introduction. As with other courses we will do some

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listening and watching of films in what is likely from a new perspective for most
students. We will listen for those things that many people do not hear
consciously. What are you feeling from this scene? Is it purely the visual image?
If we mute the sound does it still have the same effect? How are our emotions
being manipulated?
We will discuss some of the technical aspects of this work. The issue of time
becomes extremely critical in this discipline. Getting intimate with a metronome
may be a new idea for many students. The ability to notate one’s idea now
becomes a core issue. Musical literacy and an appreciation of all styes of music
come to the fore.
The prerequisites for this course are all four terms of Elements of Music and
one term of Composition. It is also assumed that each student enrolled in this
course has been playing in orchestra and ensembles for several semesters and
will at least be familiar with the sound of the various instruments found there.
We will ask the students to attend ensembles and orchestra with a new ear, to
listen to the sounds of the other instruments and relate them to what they hear
when watching a film. Then will come the opportunity to write their own
interpretations to fit the given parameters of an image and the emotional story
being told.
As Uganda has a budding film industry this field has tremendous growth
potential. We would be fortunate to find a teacher with training in this discipline.

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CAREER OPPORTUNITIES FOR THE PERFORMING MUSICIAN
The expectation of all musicians is to perform in some capacity. This course
will explore many of the possible career paths for a performing musician both
inside Uganda and abroad. One of the primary goals of our institution is to
prepare the musician to have the knowledge, tools, skills, and attitude needed
to be such a performer.
Where does a musician perform? In Uganda one common experience is
playing in a church band which is an integral part of services. There are also
“overnights” which are just that - dusk till dawn church events where music is a
central element. Weddings is another common place for musicians to be found.
This is also a way for the musician to have a good pay day as the more
elaborate weddings tend to be good paying affairs. This is also a venue for the
traditional musician and for culture groups as well.
Restaurants, clubs, bars, and cultural events designed for tourists are
others. Then there are a handful of music festivals in Uganda that are primarily
geared toward original music. Bayimba Festival, Nyege Nyege, and Pearl
Rhythm Festival are three of the largest in the country. Regionally there are
festivals in Kenya such as Safaricom and in Tanzania we find one of the largest
festivals in Africa, Sauti Za Busara, held each February on the island of
Zanzibar. Most African countries now host at least one large scale music
festival per year. Beyond the continent there are opportunities to perform at
festivals and other venues abroad.
In addition, the recording business is growing in Uganda along with a
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handful of radio and TV stations and a film industry in its infancy. The future
here is endless.
This course will examine these and other possible outlets for the performing
musician. We will also brainstorm to see what opportunities the musician can
create for themselves. Being in school itself is a networking tool. The chances
are good that our students will themselves working together in the future.

SECONDARY CAREERS FOR A MUSICIAN
This course will explore avenues where the musician can employ their skills
and talents indirectly. One such choice is to become a teacher. Our program will
give the student marketable skills to become a music teacher. This is a growing
field in Uganda as more and more schools create music programs. The model
of “Tender Talents” school, located in Kasangati, is a prime example of a
secondary school removing the stigma of MDD (Music, Dance, Drama) being a
course of study not deserving of respect. There are also more music schools
opening up throughout greater Kampala and it is clear that this trend will spread
to the larger towns in Uganda. Our program will feed this growing demand.
Leading a church band, a choir, or teaching children to play instruments at
church is another growing field. Churches act as de facto community centers
where many activities take place, music frequently being a part.
Composing for Uganda’s TV and radio stations, for commercial
advertisements, or for the film industry are distinct possibilities for the budding
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composer. Music licensing is another venture. Having a new core of literate
musicians to perform such compositions broadens the scope of what is actually
doable.
Forming booking agencies, coordinating talent for tourist centered hotels,
starting a wedding entertainment business using bands, DJ’s, and live sound
can use skills acquired through the departments at our institution. We will look
at the positive and the potential pitfalls of the business side of music.

5) CONTEMPORARY MUSIC HISTORY
JAZZ HISTORY FROM USA ROOTS TO WORLDWIDE
This course will examine the history of jazz as the foundational music for
much popular music worldwide over the last century plus. The roots of jazz
extend to West Africa and the music that was carried to the Americas by the
slaves who were forced to become victims of the Transatlantic Slave Trade.
Over time the music of slaves combined these African influences with Western
instruments. Generally speaking the birth of Jazz is then traced from early blues
to New Orleans and is personified by Louis Armstrong. This was made possible
by the concurrent invention of recording technology so that improvisation could
be preserved for the ages.
Our jazz history will proceed through the spread of the music north to
Chicago and on to New York, which soon became the center of the jazz world.
We will learn about the rise of Big Bands, the Bebop era, Modern Jazz, Jazz
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Fusion, and the spread throughout the world of this improvisation based music.
Cornerstone musicians to be studied, and listened to, include
pianist/bandleader/composer Duke Ellington, pianist/bandleader Count Basie,
clarinettist/bandleader Benny Goodman, alto saxophonist/composer Charlie
Parker, trumpet player/composer Dizzy Gillespie, pianist/composer Thelonious
Monk, trumpet player/composer/bandleader Miles Davis, tenor & soprano
saxophonist/composer John Coltrane, tenor & soprano saxophonist Wayne
Shorter, pianist/composer Chick Corea, and bassist/composer Richard Bona,
the most accomplished of several top notch bass players, others being Armand
Sabal-Lecco and Etienne Mbappe, to have emerged in the last twenty years
from the West African nation of Cameroon.

WESTERN POPULAR MUSIC SINCE 1950
This course will examine the rise of Rhythm & Blues, Rock ’n Roll, Soul, Hip
Hop and other popular styles that pulled away from the directions that are
attributed to styles under the “Jazz” banner starting around the year 1950.
Influential musicians and bands will include Chuck Berry, Sam Cooke, The
Beatles, Bob Marley, Steely Dan, Stevie Wonder, Earth Wind and Fire, Frank
Zappa, Michael Jackson, and Prince. What musical and social contributions did
these artists bring to the world? Why have they left a legacy behind? Students
will be encouraged to bring their examples of current pop music to class. We
will explore the possibility of the lasting impact of current pop music.

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WEST AND SOUTH AFRICAN POPULAR MUSIC SINCE 1960
The majority of international African musicians have come from West Africa
and South Africa. This course will study who these artists have been and ask
why they have had their influence. The first half of the course will visit West
Africa and the focus will be on Nigerian Fela Kuti, who music was inseparable
from his politics, the two Senegalese artists Youssou N’Dour and Baaba Maal,
and the great vocalist Salif Keita from Mali as well as his countrymen,
saxophonist Manu Dibango and guitarist Ali Farka Touré. Other vocalists of
note include Cesaria Evoria from Cape Verde Islands and Angélique Kidjo from
Benin.

A study of West African music will discuss indigenous instruments such as
the kora and the talking drum. A prominent kora player to be discussed is
Toumani Diabaté, from Mali. The kora has two rows of strings, 21 in total and is
a predecessor of the aforementioned kamelngoni. The talking drum (see Figure
18. and Figure 19. below) is constructed with an hourglass shape. It’s two
heads are connected by several strands, or thongs. The drum is placed under
the armpit, struck with a curved hammer shaped stick and, when pressure is
exerted on the thongs, the pitch of the drum is raised. This drum can therefore
imitate the human voice perhaps better than any other instrument, except in
terms of duration. Another instrument to discuss is the balaphon, another
African addition to the xylophone family. One of the leading exponents of this
instrument today is Aly Keita who hails from Ivory Coast. Following in the

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tradition of his predecessors he plays an instrument which he made himself. He
is a virtuoso on a par with any African or Western musician alive today.

We will then travel down over the equator to South Africa. Music and social
impact have gone hand in hand throughout the decades long struggle against
apartheid. We will look at the life, and turmoil surrounding, “Mama Africa”,
Miriam Makeba. Known for early 1960’s songs such as “Pata Pata” and
“Malaika,” she became an emblem for the anti-apartheid movement when, on
tour overseas, she was banned from returning home55 for speaking honestly
about conditions in her country. Her one time husband, the great trumpet
player Hugh Masakela is another key figure in both the music and political
history of Africa. Their careers will forever be intertwined with social movement.
We will also explore the controversial decision by American pop star Paul
Simon to record with South African musicians at a time when much of the world
was boycotting any connection with the country.
Two current South African based artists are the vocalist Thandiswa Maswai
and guitarist Jimmy Dludlu, who is from Mozambique but makes South Africa
his home today.

55

Jon Pareles, “Taking Africa With Her To The World”, NYTimes.com, November 10,
2008, accessed June 26, 2018,
https://www.nytimes.com/2008/11/11/arts/music/11appr.html

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Figure 18. Talking Drum from West Africa countries such as Senegal and Mali.

Figure 19.Mame N’Diack Seck Thiam demonstrates Talking Drum technique.

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UGANDAN/EAST AFRICAN MUSIC HISTORY
This class will begin as a research project. When students enrol in the
course they will each be asked to bring the name of one Ugandan or East
African (Kenyan, Tanzanian, Rwandan, Burundian, or South Sudanese)
artist/musician to week one of class. The instructor will speak of three Ugandan
artists, one, Geoffrey Oryema, who had to flee Uganda in 1977 in the trunk of a
car after the assassination of his father, a minister in the government of Idi
Amin56. Oryema had an emotional return to Uganda when he performed in
December, 2016 and, sadly, passed away on 22 June, 2018.
Also included in the syllabus will be the band “Afrigo” and the
vocalist/songwriter Maurice Kirya. These two have been chosen for two
reasons; first, they are considered to be important artists for their contributions
to Ugandan music. “Afrigo” band is perhaps the most famous band in the
country due to a combination of longevity and popularity. Maurice Kirya has
built an impressive career over the past decade and fairly represents the
younger generation in terms of artistic integrity. Both Afrigo and Mr. Kirya have
performed extensively outside of Uganda but have maintained their homeland
as their base. The other artists will be chosen by the students, researched by
the students, and have their stories presented by the students. They will be
encouraged to play the music and discuss what is appealing about it and why
the artist has found success. Suggested artists to discuss include Juliana

56

Mark Babatunde, “After 40 Years in Exile, Ugandan Musician Geoffrey Orem Returns
Home,” Face To Face Africa, February 17, 2017, accessed June 24, 2018,
https://face2faceafrica.com/article/geoffrey-oryema

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Kanyomozi, Radio & Weasel, Eddy Kenzo, Lillian Mbabazi, Qwela Band, Bobi
Wine, Jamal, and Chameleon.
——————————————————————————

The remainder of courses available to our students lie in departments outside
the Contemporary Music(Jazz) Performance program. To that end I will only,
very briefly, discuss the courses offered under the banner of Music Technology.
The course titles from the African Music and Dance department and the
Classical Department are in the general course listing given earlier and an
inference can be made from those titles as to content.

RECORDING PRODUCTION

This course will introduce what is involved in modern recording techniques.
Students will work with a computer based Digital Audio Workstation(DAW).
They will learn about microphone placement and recording electric instruments
directly. They will be taught the difference between recording an entire band
together versus tracking one instrument at a time.

There are two points which I would like to make here in reference to
recording and mixing, which are part of this class. Beyond the technical
knowledge to be imparted one must be aware of the overall picture when
embarking on a recording project.

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First, we will stress the importance of pre-production. Knowing how to
operate in the studio environment, how to employ the equipment is one thing.
Knowing how to do so efficiently is of equal significance. This is important for
several reasons. First, the recording artist should have a very good
understanding of what they wish to accomplish prior to entering the studio.
Studio time in the real world is costly and one must prepare so as to use that
time effectively. While one should always be open to creative ideas that may
occur at any time there should be a concrete plan established before entering
the studio. Too often I witnessed next to no preparation before entering the
recording studio during my time at Berklee College of Music. The most
disturbing element to this is that it was hardly noted. Inefficiency was the norm
and that is a costly, unprofessional attitude to bring into a recording studio
environment, particularly when circumstance may introduce someone of stature
to a session.

This was embarrassing when we had a notable guest, Patrice Rushen, run
workshops and a recording project. for a week. Here was a fantastic opportunity
that, from my perspective, was largely wasted. This is a person who has a 35+
year track record in several areas of the music business. She is a fabulous
musician, composer, arranger, band leader, producer, and educator. I was
shocked that none of her programs were held within the boundaries of required
classes. Her week long stay was entirely ‘voluntary’ in that several students
missed out on her expertise entirely.

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A Pre-production meeting was held to discuss the song chosen for a
student recording. Several relevant points were raised, both by Ms. Rushen and
by students attending. However, even after this Pre-production meeting was
held, Ms. Rushen’s suggestions were predominantly unheeded. If this was a
“real world” scenario, and Ms. Rushen was hired as a producer, the cost of
recording that song would have been approximately $2,000 for her fee plus
hundreds, or thousands, of more dollars for one session in a good recording
studio paying the engineer, musicians, food, etc. Our students in Uganda would
certainly be taught how to respect that opportunity, the guest involved, and the
cost factor.

A second example with reference to pre-production is related to a guest
speaker we had in Forum class one day during the Fall, 2017 term. He was
from another Berklee department and was invited to speak about mixing. He is
clearly very knowledgeable in the technical side of mixing. However, he stated
that one should treat the rough tracks at a mix session as a “bastard child”. That
is, consider them expendable. Be willing to just throw away track upon track and
delete section upon section of what had been recorded. While in theory I
understand the concept of somewhat starting from scratch when going to mix I
think it is imperative to teach students to think about what they are planning to
achieve before entering the studio in the first place. Why spent the time and
money recording dozens of tracks only to delete huge amounts of material? I
am fully aware that Steely Dan, for example, recorded this way in the 1970’s
and I am fond of the end results, but they had grandiose budgets after

114

achieving hit records and earning millions of dollars in profits for their record
company. A recording session must take overall cost into account and this
lesson ignored that factor entirely. As an aside I personally took affront to the
use of the term “bastard child” (a direct quote that has stuck in my mind) as I
have worked with “bastard children” for many years now and I believe that they
are of equal value to non- bastard children, none of whom should be considered
expendable. Perhaps this term was used haphazardly, or is a result of a cultural
bias, or simply ignorance. In a school environment in Uganda everyone is quite
aware that, for several reasons such as HIV, poverty, poor health care, civil
wars both inside Uganda and in nations whose refugees Uganda now
welcomes, there are millions of orphans and “bastard” children. As this is a
derogatory term, to employ such terminology would be shocking and rude. As
this curriculum is being developed for use in Uganda it is worth pointing out this
cultural difference from the West. Great effort is taken to treat everyone with
respect and such rude references would be frowned upon. Any teacher who
spoke in such a manner would lose the respect of his or her students.

MUSIC NOTATION SOFTWARE

Students are learning how to notate by hand in other classes as they
become literate musicians. Discovering how to use notation software is a great
shortcut tool to composing, arranging, editing, and transposing music. We hope
to be able to offer this course at some point in the future and that is why it is
listed here. However, at this time the cost of a legal version of such programs

115

as Sibelius or Finale are cost prohibitive for our students. Perhaps we can one
day strike an educational deal with one of these manufacturers.

LIVE SOUND/DJ

This is another practical example of participating in the music business
while not performing per se. DJ’s are in demand in clubs and private parties and
even at music festivals. Becoming adept at live sound applications is a very
useful skill in the music industry. The majority of people working live sound in
Uganda are untrained and the results are frequently disastrous. With a
knowledgeable teacher in our program our hope is to see great improvement in
this field over the coming years.

ELECTRIC INSTRUMENT/AMPLIFIER REPAIR
Everything breaks or wears out at some point. Uganda is in need of
qualified repair people. There are countless examples of repairs done poorly
and not lasting. There is a need for such skilled, mechanically oriented people.
————————————————

As stated above, the remaining courses are contained within their
corresponding programs and will not be discussed here. Any musician or music
educator either can deduce enough from their course titles to get a basic

116

concept. The Classical department generally follows the guidelines that have
been established over generations of Western music education. The teachers,
however, are also very in touch with the realities of teaching in Uganda. They
are aware of the biases frequently encountered in Western education models
and work to remove, or at least minimise, such negative connotations. The
courses offered through the African Music department fall within the traditions of
Ugandan, East African, and a broader African culture. The music and dance
instruction is largely taught orally and by rote. The history based courses are
research oriented and based in a written format.

Besides these courses what remains is the requirement for all students to
perform not only in their ensembles within the Contemporary Music(Jazz)
Performance Program but also with the school orchestra (under the aegis of the
Classical Department) and with the school’s culture troupe, which is organised
under the African Music Department. These will be musically enriching
opportunities and serve as interdisciplinary aids to the Contemporary Performer.

15. PROFESSIONAL PLAN

This is a project that will be implemented, in an edited form, at Africa
Institute of Music which is located in Lubowa, Kampala, Uganda. It will require
discussions with the academic board, of which I am a member, taking into
consideration several factors. It is also possible that a similar program, on a
smaller scale, could be adapted for Kampala Music School. We have had initial

117

discussions concerning such a program at KMS.
At AIM, one factor will be which teachers are currently on staff at any given
time. The program, and course selection would be modified to accentuate the
strengths of an available instructor. Another is the resources and facilities at the
school. The structure is newly opened in 2017 and construction continues at the
time of writing with a performance space/theatre not yet completed. Expansion
is possible in the future. A third factor is student enrolment. We will engage the
students to help understand the shifting needs of the next generation of
musicians and music educators. As we begin implementation there is no
question that more factors will come to the fore. The reality is that the program
detailed within this paper will both be amended and gradually introduced into
the current program which is running now. The program outlined here is more
comprehensive and more specific than that currently offered which will enable
staff and students to work within a more explicit framework. While there has
always been a degree of overlap with the Classical Music department at the
school the idea of integrating the Contemporary Music Department with the
African Music Department is new, and key, to the concept and success of this
program.
Consensus is an accepted way of making decisions in Uganda. I do not
expect to impose all of what I have documented here at an institution of which I
am a part, albeit the Head of the Department in question. This will require
discussion with the school Principal and Dean of students as well as with the
Academic Board and all the teachers whom this impacts. Communication and

118

honest understanding of issues is key to improvement. Student input is also
welcomed and is garnered both through official means such as inclusion at
certain committee meetings but also through the informal social settings on the
campus. Much knowledge can be gained through a casual conversation over a
lunch of kikomando.
There is one important component contained in the structure of Africa
Institute of Music that does not easily fit into a curriculum or a list of expected
outcomes. Prior to my association with the school I had spent two years (and
continue to do so) volunteering at M-Lisada (Music – Life Skills and Destitution
Alleviation) Children’s Home57, mentioned earlier and located in the Nsambya
area of Kampala, adjoining Katwe. At M-Lisada, a home for former street kids
and orphans58, everyone is trained to be a performer, either with the brass
band, culture dance troupe, acrobatics, or the jazz group. We have been able to
bring a handful of “A” level high school graduates from M-Lisada to attend AIM
with the aid of partial scholarships provided by the school and sponsors.
This has proven to be mutually beneficial as the student gets a quality music
education and AIM gets an already trained musician, far beyond that of the
average new attendee. While such a relationship is not directly related to the

57

David S. Mukooza,“Music To The Rescue: 20 Years of helping street children,” Daily
Monitor, June 7, 2018, accessed June 24, 2018,
http://www.monitor.co.ug/artsculture/Reviews/Music-rescue-20-years-helping-streetchildren/691232-4598892-mnhyu6z/index.html
58

Ssebidde Kiryowa, “No legs, no arms but, but 18-year old Kamukama plays the
trombone better than anyone you know,” New Vision, March 20, 2015, accessed June
24, 2018, https://www.newvision.co.ug/new_vision/news/1322808/legs-armskamukama-plays-trombone

119

curriculum being discussed I believe that it is relevant to the description of the
school environment described earlier. Our school, and our program, aims to be
as inclusive as possible to all people, including those with little ability to pay the
school fees. In return, the school gets a musician who can add to the quality of
the orchestra and ensemble immediately as M-Lisada provides instrumental
music instruction to children as young as seven years of age. I see the current
relationship between AIM and M-Lisada as part of the overall model which
illustrates the school environment which we desire.
The motto of M-Lisada is “Music To The Rescue.”59 Now 21 years old, this
organization has demonstrated how music can impact the lives of all. It gives a
child a feeling of accomplishment and the opportunity to work within a group. MLisada has now opened a second home in Kalangala, the largest town in the
Ssese Islands, located in Lake Victoria. Here, we find many AID’s orphans as
the lifestyle of fisherman has created an epidemic of this disease. M-Lisada
provides a home for some of these kids and, along with other partners, has
brought music instruction and a brass band to this area. Having visited these
islands twice I have a goal of one day bringing some of these young people to
“the big city”, Kampala, to attend AIM. Music has the power to bring hope to
people such as these, as it has at M-Lisada for former street kids of Katwe. We
should never underestimate this power, the indefinable spiritual element that is
fundamental to music. I have witnessed it transform lives and do not take this

59

Mukooza. David S.,“Music To The Rescue: 20 Years of helping street children,” Daily
Monitor, June 7, 2018, accessed June 24, 2018,

120

responsibility lightly.
Beyond Africa Institute of Music there is always the possibility of creating
similar programs within other institutions, with other organizations such as
“Brass for Africa”60 (BFA), or building one from the ground up. BFA is also a key
partner in the program I mentioned above in Kalangala as well as with MLisada, several homes for the disabled and even at Kampiringisa61, a children’s
remand home. To be successful, and achieve lasting results, partnerships are
invaluable. Through networking with current and future contacts there is the
very real chance that these ideas could take hold elsewhere, particularly in
other regions of Uganda and in other nations of East Africa. There is the annual
DOA DOA music conference held each May in Kampala, which attracts
participants from all over Africa, particularly those of the East African
Community, where an aspect of the current state of music education is always
one topic. I plan to attend this and other similar conferences held in Ethiopia,
Zimbabwe, and Cape Verde, to name a few.
Secondary to the development of the curriculum for a Contemporary
Music(Jazz) Performance program is the continued encouragement of the
African Fusion style of music. Every band will have its own take on this as it will

60

Isha Ranchod, “Special Report: How Music is Transforming the Lives of Children In
Uganda,” Grammaphone, April 11, 2018, accessed June 24, 2018
https://www.gramophone.co.uk/feature/special-report-how-music-is-transforming-thelives-of-children-in-uganda
61
Jack Van Cooten, “‘Music to the Rescue’: Using Brass Band Music to Stimulate
Youth Agency for Street Children and Incarcerated Children in Kampala, Uganda.”
Master’s thesis, University of Amsterdam, November 20, 2014
https://educationanddevelopment.files.wordpress.com/2014/11/jack-van-cooten-mathesis.pdf

121

be a reflection of the individuals in the group. The instruments themselves are
adapting to technological possibilities. As the double bass in the jazz world is
now expected to either employ a pick-up or a microphone for amplification,
African instruments are being modified in a similar fashion. Tuning pegs
designed for acoustic guitars are finding their way onto adungus. Pick-ups are
being inserted into the akogo and onto talking drums as well. There is a growing
interest in playing these instruments, not so much in the sense of preserving
them as relics from the past, as baroque instruments are in the West, but rather
as viable contributing sounds for the contemporary music scene.
It is my hope that an element of African dance remains a component of this
music. The variety of dances found in Uganda alone is striking. A pleasant side
effect of the influx of refugees is the cultural exchange and growth that is found.
In particular, Rwandese music and dance has now permeated itself throughout
Uganda. I have even been invited to attend a talent scout/contest of musicians
and dancers at a Congolese refugee camp in western Uganda. Dance, as a
cultural art form is exciting, touching, dramatic, beautiful, and more. While it is
not music, per se, it is interconnected with traditional African music to such a
degree that it is difficult to see the music component continue without the dance
element co-existing alongside.

122

16. CONCLUSION

Ultimately, the role of a teacher, and, by extension, any educational
program or institution, is to encourage the continuation of cultural practice (both
indigenous and extrinsic), the dissemination of knowledge, and the wonder of
creativity. Any action that discourages any of those is doing a disservice to the
very concept of education. While any program, by its nature, establishes rules,
guidelines, and accepted practices, it should never lose sight of the wonder of
discovery and the ability of the student to find an ever so slightly new
perspective on a subject. That creative spark should also be invigorating to the
teacher and be the life blood of an institution.

The most fundamental ingredient in being a successful educator, and, by
association, a flourishing institution, is to be encouraging. One cannot force
learning or practice. What is within our power is to point a direction, to show
someone a path that they may choose to take. Then to be there when they
encounter difficulties and point out their options. To accomplish this, listening is
as critical as speaking. Sometimes what is needed is to simply nod your head.
Words may not be necessary. The human connection is what has the most
impact. It is rewarding that these three organizations I have been privileged to
work with in Uganda, M-Lisada, KMS, and AIM, are continuously striving to do

123

what is within their power to create meaningful opportunities for those who have
been denied such early in life. To see someone who came to M-Lisada as a sixyear old boy, left behind by his parents to fend for himself in the streets, get
training on tuba through the auspices of M-Lisada and KMS, be handed a
tarnished saxophone donated from the USA, grow up to finish High School and
go on to University at AIM, and then become a well-respected musician in
Kampala is what drives me to implement such a program and continue working
in Uganda. To see an eleven-year old girl, living a challenging life in Katwe but
coming to M-Lisada every day for Culture Dance training, demonstrating not
only talent but the ability to focus, internalize knowledge, and show respect for
hard work and others, go on to be accepted to finish her High School education
in South Africa at one of the most prestigious schools in all Africa is what drives
me. There is a power of the human spirit that deserves an opportunity. That is
what an educator, and an educational program, can provide. The paramount
goal, to impact lives in a way that allows the student to make their own choices
concerning the life they will lead, is what this is really about. Music is the
impetus, the catalyst. Through music we can reach that organic, primal
component of life that we all desire. This is related to the description in the
preface of this paper concerning the theory that humans need music to survive
as much as they need food, water, and shelter. Through music instruction,
through encouragement, through connecting with that inner spirit, we can
contribute to the betterment of our species. I am fortunate to have lived in a
place where I have seen this happen, where people are still able to get in touch
with that element that may be called the soul. Uganda is such a place.

124

In the final analysis, a curriculum of any sort should be energising, as a
wonderful musical performance should be, to the student and to the faculty. As
also mentioned in the preface of this paper, there is a spiritual side to humans
which I believe music is connected to. There is, of course, no scientific proof of
such. It is a personal theory and part of my personal belief system, one which I
have no intention of imposing upon anyone. However, this seems to be the
appropriate juncture to probe this indefinable angle of human existence. If
nothing else, music is a very personal experience which is, however, primarily
of value in a public, or social, context, hence the use of the term “Performance”
in our program title and how one frequently envisions the musical experience.
The existence of music without a performance that touches upon a spiritual
element is one devoid of meaning, empty of passion. Such passion is the
heartbeat of what goes beyond the physical necessities for human survival.

A music performance program that is first and foremost concerned with the
commercial aspects of the music business misses the point. While the realities
of the music industry must be taken into account they must also be secondary
to the goal of finding that intangible which borders on the sacred. The art form,
with a learned yet spiritual aspect intact, must come before it is to be marketed.
In other words, there must be something “there there” before it can be sold. The
art form and the tools employed for the creation of that art form must be
developed prior to selling the product, prior to the box it is placed into. The

125

program must be designed in a way that accommodates this somewhat mystical
element rather than bypassing it entirely. There is a choice here. This spiritual
side is apart from any particular religious or philosophical belief. That is all up to
the individual student or musician or listener. What I am attempting to get at is
the feeling one gets at gazing at a beautiful sunset, feeling a fresh ocean
breeze, beholding a sight such as The Alhambra, or listening to Wolfgang
Mozart or John Coltrane or Stevie Wonder or even an unknown local musician
who touches the soul of four patrons in a dimly lit bar one night. That is the
strand of humanity I am seeking to define. We cannot put our finger on it yet we
know it exists. Some of us describe it in terms of our religious beliefs. Some
attribute it to Mother Nature while others expound about the power of the
Universe. Perhaps there will be a scientific explanation one day, as science
struggles now to come to grips with quantum theory. Perhaps this will fall into a
sub sub-atomic realm. In fact, the scientific description, even if discovered and,
excuse the pun, quantified, is irrelevant. Its reality is only as necessary as being
touched by the smile on a baby’s face, the taste of a perfectly ripe fruit, or the
sound of an instrument you have never heard before.

If there is one important lesson that I have been reminded of during my
years in Uganda it is that we can always learn new things, perhaps we can
even call them “old things”, from other cultures. For example, on the one hand,
much of the Western world now admits that it should move away from the
plasticised economy that has been supported since the end of World War II.

126

Such people believe that it would be preferable to live in a more organic way.
Yet, when glancing at a traditional African village, a mud “hut” (why not “home”
another subtle Western bias) with a grass roof is, similar to traditional music,
also termed to be primitive whereas, if it had a modern twist to it, such as an
Earthship62 or another such solar or bio-friendly design it would be considered
as state-of-the-art. The mud huts found in Uganda are eco-friendly and
functional. Must anything be a brand new design to be recognized as efficient or
positive in some form? Is marketing what is truly the key to legitimizing
something? Perhaps there are less ancient architectural marvels in subSaharan Africa, though Great Zimbabwe63 competes with any, than many other
areas of the world for good reasons, rather than the assumption of ineptitude.
Wouldn’t a positive interpretation be that massive wars were principally avoided
so that such fortified structures were largely unneeded? As the proverb
“Necessity Is the Mother of Invention” is a truism then it follows that a great
degree of technology was created due to the reaction of horrific warfare and
violence in other areas of the planet. I am not arguing that Africa has been an
idyllic, peaceful locale. However, I would argue that it has avoided the need for
the powerful weaponry developed by the Western world simply because it has
historically been more peaceful and less inclined toward conquering distant
territories or plundering, on a grand scale, for whatever could be taken by force,
whether it was in the form of gold or humans in bondage.

62

“Sustainable Architecture”, Green Home Building.com, accessed June 26, 2018,
http://www.greenhomebuilding.com/sustainable_architecture.htm
63

“Great Zimbabwe National Monument”, UNESCO, accessed June 26, 2018,
https://whc.unesco.org/en/list/364
127

Africa has maintained a spiritual nature that can not easily be defined or
taught. But it is there, in the people, and it is there in the traditional music. As
Randy Weston states, ”When I’m with what I refer to as traditional people, like
the Gnawa or the Joujouka for example, I feel as though I’m going to music
school, because in the West we have the tendency to believe that we started
music. We tend to look upon Europe as the foundation of music and we tend to
ignore the music of ancient cultures – India, China, Africa, etc. The African
concept of music is much deeper than the western concept and it’s based upon
very powerful, spiritual values and supernatural forces, and pure magic.64” Mr.
Weston feels like he is going to music school in an environment that many in
the West would write off with a swipe of the hand as being primitive, backward,
or worthless. Curiously, the Gnawa and Joujouka he refers to are residents of
Morocco, an immediate, African, neighbour of the nation of Spain. The lesson is
that we can find lessons from all cultures and that they are all truly equal in
value. No one culture, whether is confined to their music tradition or otherwise,
is superior to another. There is no need to qualify a cultural attribute. These
simply exist. It is as if one was to claim that one shape, or one color, is superior
to another. Is a yellow square less valuable than a green hexagon? That
sounds like a rather silly question. But the same is true of putting a value
judgement on music. Or onto an entire nation or region, or group of people. One
may prefer one form over another, yes. But to claim superiority is a dangerous,
divisive, and, ultimately, a self- defeating statement.

64

Randy Weston, and Willard Jenkins, The Autobiography of Randy Weston: African
Rhythms. (Durham and London: Duke University Press, 2010) page176

128

The overriding professional plan behind this curriculum is to give the
student, the aspiring musician, the encouragement and, hopefully, some
expertise to touch upon this instinctual knowledge. If it does not, then there is
an element that is being either overlooked, at best, or, at worst, subjugated by
the boundaries of that program. The professional plan that results from this
program is to be one that is, above all, inspiring to the students. To achieve this
plan we aim to present a positive, open minded, and affirmative atmosphere to
all our students. We aim for the unattainable. We strive for beauty and
perfection, and an emotional connection with the music, while realising that
these attributes can, at times, only be hinted at. That glimmer, the luminescence
seen in the eye of a student who has grasped a handful of creative zeal is the
reward for the true educator. And that gleam, combined with a musical
expression which insinuates the perspicaciousness of the musician is the
essence of the true objective of this Contemporary Music (Jazz) Performance
program designed for Uganda. Our doors are always open.

129

Appendix A: Lead sheets of music cited in text
1) From pg. 71, 3 12 bar blues – “C” Jam Blues, Sonnymoon for Two, Blues Walk
2) (2a and 2b) Pg. 73, Comin’ Home Baby
3) Pg. 74, Blue Moon
4) Pg. 75, Mercy, Mercy, Mercy
5) Pg. 84, The Chicken
6) Pg. 92, Blue Monk, Freddie the Freeloader
7) Pg. 93, Killer Joe
8) Pg. 93, Nelson Mandela
9) Pg. 93, St. Thomas
10) Pg. 88, Sommerdo bass pg 2
11) Pg. 88, Saama Dome bass pg 2
12) Pg. 96, Chord Symbols The New Real Book

130

Three 12-bar blues
Concert Key

C jam bLues
duke ellington

C7

   





  



  

F7

 




C7

   



  

5

Dmin7

G7

   



 




C7

  

9



  



  

 




Sonnymoon for two
     
B¨7

13

     

E¨7



Sonny Rollins

B¨7

     




 

 

E¨7

17



 

   
 

 

 

 
   

 

B¨7



      
Cmin7

21

     




 

 
F7

 

B¨7


 

G7

     



Cmin7

 

F7

   
 
 



BLues WaLk
Clifford Brown

B¨7


 





  





  

25

E¨7


 



29

Cmin7



33



  

 

   

B¨7




F7









   



     

131


 

 

 


   

 


   

B¨7





Flute




  
12


 

16


 

21



Comin' HOme Baby



B

 
  



  



      



 


43
Gmin
     



55

C

Gmin



Cmin



1. Gmin

    


59



ØCODA


 



SOLO SECTION


Gmin





          





Cmin

D

          

   








Gmin

Gmin
 







 






 
 



 

 

        

 



  B¨7




A¨7




B¨7

A7

A7



 





A¨7



2.
D.S. al Coda
          


   



 
     
 
 
 








63

A


  
 
 

To Coda
32

49

   

   



26





      


132




 

Fine

Keyboard

Comin' HOme Baby
 
      

9


20


31


43


54



A



Gmin




  



Gmin To Coda





Gmin













Cmin



Gmin



C

Gmin

D

Gmin



SOLO SECTION

  


  

Cmin



Gmin

B¨7

Gmin


Cmin

Gmin


A7





B¨7

Gmin





Gmin

A¨7




B¨7





Gmin



Gmin

A7

A7

B¨7


A¨7



A¨7




D.S. al Coda

       

    

2.


  

ØCODA



Cmin

1. Gmin


  

63






59

   




A¨7



   


B



A7

   










      

       


133



  

Fine

134

Mercy, Mercy, Mercy
J. Zawinul



   



 
                      
B¨ E¨/B¨ B¨7

E¨

B¨ E¨/B¨ B¨7

B¨ E¨/B¨ B¨7
E¨





   
     

5
 

B¨ E¨/B¨ B¨7

E¨

E¨


   

     

 

B¨ E¨/B¨
E¨/B¨
E¨/B¨
E¨/B¨
 B¨7
 B¨
 B¨7
 B¨

                         

9

B¨/D E¨

F F9sus

To Coda
B¨/D E¨
F
   B¨




          
   

         

    




 
 
13
  
Cmin7
Dmin7
F Gmin F Gmin

   Gmin



   














  
               
17


                    

  
            
21
Ø Cmin7

Dmin7

Gmin

135

F Gmin

F

 


Gmin

Fine

The Chicken
Pee Wee Ellis
INTRO VAMP

1.
B¨7

2.

E¨7
on cue

? bb ™™ œ ™ œ œ œ œ ≈ œ œ œ œ
B¨7

6

E¨7

b
œ
& b ™™ 1

Œ

Ó

‘
E¨7

B¨7

E¨7

D7

b
&b œ œ œ œ Ó

∑

b
&b ˙
B¨7

b
&b

Œ œœœœ ˙
E¨7

∑

B¨7

B¨7

B¨7

∑

22

b
&b
26

b
&b
30

b
&b
34

b
&b

136

E¨7

. œœœœ
Œ œ

Œ œœœœ

Œ œ œ Œ œœœœ ˙

Œ œ œ œ œ ˙™
E¨7

Œ œœœ

G7

>œ
œ b œ. œ. œ .
b
œ
≈
≈ bœ œ. ‰ J

C7

14

Ó
&

.
Œ œ œ œbœ œ œ œ œ œ nœ Œ Ó

10

18

‘

‘

B¨7

™™

Œ

E¨7

B¨7

E¨7

∑

Ó

Œ

œ œ œ

™™

FreDDie The FreeLoaDer
 
     


  

Miles Davis

B¨7


 





E¨7




5

1.

E¨7



9

2.

 

E¨7



13










 




 


A¨7





F7

  






F7

  




B¨7


 





B¨7







 



BLUE MONK



17



B¨7

E¨7

    

E¨7


      

B¨7

    

     

E07

B¨7

     

F7

25

B¨





     



 

137




 

B¨7



     



 

B¨7



B¨7


 

 

F7

     

21

 
 

F7



3

  

B¨7

F7

  



Solo on form: AABC
Go To Coda after last melody
open solo 'vamp' until cue to end

KiLLer Joe

Bennie Golson

Intro C13

B¨13








   



5



B¨13

C13









C13



9

Em7¨5

 

13














B¨13

B¨13

 
B

B¨13



C13

A

C13

 



C13

B¨13





 


A7¨9

E¨m7

A¨9

A¨13¨9









A13



G¨/A¨

 

A¨7

Em7





A13¨9





17

C

C13

 



21





C13

C13





B¨13



B¨13

 



25

 C13

  

B¨13







B¨13







B¨13





1. B¨13

C13



C13

34



B¨13



138



  


to Coda

2. B¨







C13

29


   

 



 C13
  




 

NeLson ManDeLa
Abdullah Ibrahim

rhythm section
B¨
open vamp











 

E¨





F

B¨





melody on cue:

  



B¨

E¨

F

B¨

B¨

E¨

F

B¨

E¨

F

B¨

    
                
     



5

9

           
       






   


B¨

To Coda

    
      
     



 


13

B¨

E¨

F

B¨


          
             




 

17

SOLO SECTION


   

B¨

E¨7



1.2.
B¨7

F7





3.



21

  






                           

background
B¨7

E¨7

1. B¨7

F7

26

Ø B¨

E¨

Edim7 F

         

  

31

139

background
on cue

  

2. B¨7

    



B¨





 
   


St. Thomas
Sonny Rollins


   

C6

C6

 
      

Emi7
 

    



 

5

Em7¨5





Emi7



B¨7







A7




A7













A7

Dmi7

Dmi7






C9/E





13



F6

F#07


 

C6/G




G7









G7



C6








G7




9

C7

C6




A¨7#5










Dmi7







G7



C6




(Fine)

 


SOLOS


  
B

C6

A7

Dmi7



G7



C6





17

C6



A7



Dmi7

G7



C6





21

Emi7¨5



A7



Dmi7

G7







25

C7



C7/E



F6

F#07

C6/G



G7



29

140

C6



 


sommerDo

BASS

mame d'jiack
INTRO

   
 

ADUNGU



      
   
 

7




   




    


   



   
   

                                        







CHORUS 1

10

 

                                        




VERSE
GROOVE

14

CHORUS 2
 

                                        




18

                                        






22

                   





26

                    
  



CHORUS 3 3X

30

                    
  



CHORUS 4 3X

34

141

VERSE 1 repeat 5x
                   


 



  
                   


 



  
                   

SAX
SOLO 7X

VERSE 2 5x

 


2


  
                   


                    
 



ADUNGU
SOLO repeat 17x

CHORUS 5 3X

38

BRIDGE
   
    

42




    


    





VERSE 3 5x
                    
  

                    
 


CHORUS 6 3x

48

 


 


4x
15x
                                        
  





CHORUS 7

GUITAR SOLO

52

                    
  





  
                   


 


                     
 




                 


 


                     
 




                  



VERSE 4 13x

CHORUS 8 4x

56

CHORUS 9 4x

60

CHORUS 10 3x

64


       




68

142

DRUM
SOLO 13x

LAST TIME!!!


  
 


FINE

143

Appendix B: Multimedia
1) Music used in Video Presentation
--- Charmant Mushaga “In Africa” CD African Love available online
--- Sabar Zibula “Kilya Omulangira” CD The Journey available online
---Sabar Zibula “Saama Dome” CD The Journey available online
--- Sabar Zibula “The Journey” CD The Journey available online

2) Videos from CE presentation credit (available for viewing on Youtube)
--- video of Samuel Nalangirla in solo context by Jiro One
---video of Sabar Zibula at Bayimba Festival by Eric Mukalazi
---video of M-Lisada Culture Troup by Chris Weigers

Weigers CE accompanying video Part 2 Ugandan Instruments (pg. African
Fusion Ensemble) Videography by Chris Weigers, Jiro One, and Eric Mukalazi,
Youtube link, https://youtu.be/cRYCm2q_Y44

Weigers CE accompanying CE video Part 3 with Kaz Kasozi, Tshaka Mayanja,
Ssesaazi Julius, Kiggundu Musoke May, 2018, Youtube link,
https://youtu.be/_ccqlu8m7YA

144

3) Photos
---photo of Price Love courtesy of Kwaggala Price
---all other photos by Chris Weigers

4) Berklee online (OL) ARR-511 documents (see attachments below)
--- Syllabus pg. 19
--- Design of Riff’s

145

Graduate Studies – Master in Contemporary Performance

p. 19

AR-511 Contemporary Arranging
SYLLABUS

Academic Honesty
Berklee College of Music insists on academic honesty. Unless the assignment explicitly is a group project, all of
the work in this class must be your own. The source of all information in any written assignment must be cited
properly, whether it is a quotation, paraphrase, summary, idea, concept, statistic, picture, or anything else you get
from any source other than your own immediate knowledge—including the Internet. Writers give credit through
accepted documentation styles, including parenthetical citation, footnotes, or endnotes; a simple listing of books
and articles at the end of an essay is not sufficient. Plagiarism—not giving proper credit to a source and thereby
passing off someone else’s material or idea as your own—is a type of intellectual theft and deceit and cannot be
tolerated in an academic setting. Plagiarism may result in a failing grade for the assignment or course, and
possible dismissal from the College. It is your responsibility to be aware of and abide by the rules governing
plagiarism, fraud, and cheating found in the Policy Handbook for Students under the section "Honesty in Academic
Work and in Scholarly and Professional Practice." If you have any questions about what plagiarism is and how to
avoid it, please talk with a reference librarian, ask a teacher, or refer to a writing handbook. Websites that discuss
types of plagiarism and how it can be avoided through evaluation and proper documentation of sources include:
http://owl.english.purdue.edu/
http://www.wisc.edu/writing/Handbook/Documentation.html
http://lib.nmsu.edu/instruction/evalcrit.html

Diversity Statement
Material and activities in this course support a commitment to understanding diverse cultures and learning styles
and abilities. This is accomplished through the use of repertoire from a variety of cultures and through the use of
multimodal learning activities.

Equity Statement
Berklee College of Music is a diverse community composed of individuals with different life experiences,
viewpoints, belief systems, and identities. A welcoming and inclusive culture is essential to maintaining the
college’s role as a leader in music education and Berklee highly values the dynamic environment that results when
students, faculty, administrators, and staff from diverse backgrounds come together to learn, live, and work.
Specifically, the Equity Policy and Process prohibits and addresses sexual misconduct, sexual assault, dating and
domestic violence, stalking, and discrimination and/or harassment based on race, color, religion, gender, gender
identity, transgendered status, national origin, age, disability, military or veteran status, sex, sexual orientation,
genetic information, marital status, pregnancy, or any other characteristic protected by law (collectively referred to
as “protected characteristics”). If you have concerns about a possible violation of the college’s Equity Policy,
please contact Dr. Christopher Kandus-Fisher at ckandusfisher@berklee.edu. For additional information
regarding the Unified Equity Policy and Process, please consult the Unified Equity Policy Website, which has the
most up to date information and resources at www.berklee.edu/equity.

Withdrawal Policy
Students may withdraw from classes through the ninth week of classes in the fall or spring semester and, for
undergraduates at Berklee's Boston campus, through the eighth week in the summer term by submitting a Student
Initiated Withdrawal from a Class Form at the Office of the Registrar. Withdrawal from a class is not allowed for
graduate students during the 6 or 7-week summer term, or for undergraduates during the intensive summer
semester in Valencia. Withdrawing from a class is the responsibility of the student. The instructor will not withdraw
a student from the class for any reason (including absence) or submit the form for the student. If a student
withdraws from this class, s/he continues to be financially responsible for the class and are not eligible for a tuition
refund or replacement course. Students should be aware that withdrawing from a class might affect scholarship,
financial aid, and/or international student visa status. If a student receives financial aid or veterans’ benefits,
withdrawing may reduce his or her eligibility for aid. If s/he is an international student, s/he may jeopardize his or
her F-1 visa status. In case of doubt about their status and options, students should ask the instructor, department
chair, the Counseling & Advising Center and/or contact Clara Barbera at studentsaffairsvalencia@berklee.edu.

146

ARR-511 Design of Riffs for Guitar p. 1

ARR-511
Contemporary Arranging
Design of Riffs
DEFINITION
A "riff" is a comping figure most commonly played by a harmonic instrument, such as guitar, piano or keyboard. Its
main function is to contribute to the definition of the harmony of the moment. At the same time a riff supports the
style through its rhythmic component. Riff is usually based on a repetitive pattern, similar to obstinato, with the
difference that riff has the option of improvised variation, always according to taste and skills of performer. A riff
pattern usually combines a simple melodic design with some type of harmonic structure, with a wide variety of
possibilities. Thus, there exist riffs built upon a single note, up to riffs composed by one or various chords
alternating in a constant rhythm.
Riffs can be traced back to call and response patterns that were common in primitive african music, and that were
further adapted by gospel music in a similar way (soloist sings, choir responds the same formula). The word riff is
also applied to the bass pattern, when it is of the same nature, a repetitive formula that the performer varies freely.
Even sometimes we will hear referred as riff to the drummer patterns.
1. Riff built with a single note

>
>
>
>
> >
& c ‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹
G7

etc...

(mu ted )

2. Riff made out of only chords

œ œ^
& c œœJ œœ

G7
eu s 4

>œ ˙
œœ ˙˙
J

œœ‘..
œ.

>œ œ œ œ.
œœ œœ œœ œœ
J

etc...

GUITAR RIFF’S
The following ones are the most characteristic capabilities of guitar players, that should allow the design of riffs that
are playable by the average performer. It doesn't mean, therefore, that guitar players cannot do many more things
than the ones displayed here. Once the riff is designed, the use of the italian word simile, along with slashes within
the measure, will allow the performer make the most of our predefined objectives. Also, and once our riff is
designed, checking with a guitarist will always guarantee the best results in terms of improving our riff, while it
deepens our knowledge on the instrument.
Specific notation for the guitar: frets are notated with roman numerals. The string is indicated by Arabic numbers
circled. Fingers are notated with Arabic number without circling (warning about finger numbers: "first" is index
finger, not thumb as in piano). Most of the melodies can be played in three different positions involving, each one of
them, different tone qualities despite being in the same range. This is something that we may wish to specify,
sometimes.

147

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151

Thank you very much – English

Yalama noi - Ateso

Awa’ di fo - Lugbara
Afoyo – Acholi

Weebale nnyo – Luganda

Asante sana - Kiswahili

152