Verbal-Text as a Process of Compositional and Improvisational Elaboration in Litungu Music Essay Example

Verbal-Text as a Process of Compositional and Improvisational Elaboration in Litungu Music Essay VERBAL-TEXT AS A PROCESS OF COMPOSITIONAL AND IMPROVISATIONAL ELABORATION IN BUKUSU LITUNGU MUSIC by ABIGAEL NANCY MASASABI Submitted as per the prerequisites for the level of DOCTOR OF MUSICOLOGY at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: DR MARIE R. JORRITSMA CO-SUPERVISOR: DR FLORENCE NGALE MIYA MAY 2011 I DECLARATION Student number: 3658-166-6 I announce that VERBAL-TEXT AS A PROCESS OF COMPOSITIONAL AND IMPROVISATIONAL ELABORATION IN BUKUSU LITUNGU MUSIC is my own work and that all sources that I have utilized or cited have been demonstrated and recognized by methods for complete references. _______________________ SIGNATURE (Miss A N Masasabi) ______________ DATE ii DEDICATION To the late Japheth Muia Mutangili and my little girl Grace Buyanzi. iii Acknowledgments This work would not have been cultivated without the good and expert help of various people. I am especially thankful to my administrators for their understanding, backing and direction. I express gratitude toward Dr Marie Jorritsma for her perceptiveness in issues of hypothetical substance, language and association. Her cautious perusing and reactions prompted considerable improvement in the nature of this postulation. I am likewise obligated to my second boss Dr Florence Ngale Miya whose remarks and recommendations were a wellspring of motivation. Dr Miya‘s support and her trust in my capacity propped me up all through my work. I express gratitude toward Dr Kidula for setting aside effort to scrutinize my proposal, guiding me to books pertinent to my investigation and for sending me various articles that improved my theory. I express gratitude toward Dr and Prof Tamusuza for canny reactions to the hypothesis, strategy and wordings utilized in my theory. I additionally express gratitude toward Dr Kilonzo for her support and for editing my proposition. We will compose a custom paper test on Verbal-Text as a Process of Compositional and Improvisational Elaboration in Litungu Music explicitly for you for just $16.38 $13.9/page Request now We will compose a custom paper test on Verbal-Text as a Process of Compositional and Improvisational Elaboration in Litungu Music explicitly for you FOR ONLY $16.38 $13.9/page Recruit Writer We will compose a custom paper test on Verbal-Text as a Process of Compositional and Improvisational Elaboration in Litungu Music explicitly for you FOR ONLY $16.38 $13.9/page Recruit Writer Also I might want to acknowledge Dr Omondi Okech for altering my proposal. I might likewise want to recognize the help of Fred Wekesa Kusienya and Isaac Shitubi who made my hands on work a lot simpler. They helped me to distinguish interviewees and accompanied me during my hands on work. Shitubi was instrumental during the meeting procedure and Kusienya helped me by confirming the interpretations of melodies from Lubukusu to English. I value the participation I got from my interviewees who included individuals from the Jackson Kisika Band, the Namatete Band, the Sinani Group Band, the Lugulu Bumusika Band and the Kwane Band. An abundance of thanks go to my folks Cleophas Masasabi and Grace Masasabi, my siblings Richard and Wellington, and sisters Catherine and Dorcas for their help and motivation. Uncommon gratitude to my mom for dealing with my child Grace as I was occupied with gathering information. At long last, I value the omnipotent God for invigorating me and the sound psyche to embrace this investigation. iv ABSTRACT The Bukusu people group is transcendently found in Bungoma locale of Western Kenya. The Litungu is a word alluding to a lyre among the Bukusu people group. Music joined by this instrument is what is alluded to as Litungu music. This music utilizes sung text and â€Å"verbal-text†/silao-sikeleko (discourse and discourse song) and silao-sikeleko is the point of convergence of this examination. Silao-sikeleko is acted in variation with sung text in Litungu music. This examination tries to distinguish the social and compositional job of silao-sikeleko in the music. To accomplish the destinations of this examination I utilized a subjective way to deal with gather and investigate information. Information assortment incorporated the utilization of meetings and perception. The interviewees included entertainers of Litungu music, whose music was sound recorded and video recorded for examination. What's more, I mentioned objective facts of the presentation destinations and execution conduct, taking notes and making sound and video recording. Music for examination was then chosen on the premise that it had the silao-sikeleko part. The Bukusu social perspective on silao-sikeleko is examined comparable to their traditions and lifestyle. The execution of silao-sikeleko depends on a socially imagined system that permits the association of different entertainers in the presentation piece process. Here the settings inside which silao-sikeleko is performed are recognized. Investigation of the connection between sung text and silao-sikeleko set up that while the two are specifically brought together, silaosikeleko proves the sung messages by encouraging a comprehension of messages contained in the tunes. The investigation of language utilize determined that silao-sikeleko utilizes language gadgets, for example, maxims, colloquialisms, imagery, puzzles and comparisons. I built up that silao-sikeleko as an exhibition compositional component has its own presentational structure that impacts the general structure of the Litungu music. Litungu music has a semi rondoic structure whose yield isn't static however differs as indicated by setting and the desires of the soloist. The soloist deciphers how adequately a given message has been conveyed during execution deciding how much silao-sikeleko ought to be performed. Silao-sikeleko is by and large formed and performed by different individuals from a performing gathering. Key terms: Kenyan music, Bukusu music, Bukusu culture, Litungu music, silao-sikeleko, execution creation, music arrangement, melody text, music structure, spontaneous creation. v Chapter by chapter list DECLARATION . ii DEDICATION . iii Acknowledgments .. iv ABSTRACT ILLUSTRATIONS ix LIST OF FIGURES . ix LIST OF TABLES . x LIST OF PLATES . Meaning OF TERMS xi CHAPTER ONE .. 1 INTRODUCTION .. 1. 1 BACKGROUND TO THE STUDY .. 1. 1. 1 Who are the Bukusu? .. 2 1. 1. 1. 1 Bukusu Origin and Settlement 3 1. 1. 1. 2 The Bukusu Family and Social Life 6 1. 1. 2 Bukusu Litungu Music .. 10 1. 1. 2. 1. Litungu Music in the Community . 0 1. 1. 2. 2. Sexual orientation Issues in Litungu Music 11 1. 1. 2. 3. Development of the Litungu . 12 1. 1. 2. 4. Litungu Performance Technique and Ensemble 14 1. 2 STATEMENT OF THE PROBLEM . 19 1. 3 RESEARCH OBJECTIVES .. 0 1. 4 RESEARCH QUESTIONS 20 1. 5 RATIONALE AND SIGNIFICANCE . 21 1. 6 SCOPE AND LIMITATION . 22 1. 7 THEORETICAL AND CONCEPTUAL FRAMEWORK . 23 CHAPTER TWO .. 8 LITERATURE REVIEW . 28 2. 1 INTRODUCTION .. 28 2. 2 COMPOSITIONAL ELEMENTS IN AFRICAN MUSICS . 28 2. 3 SONG TEXTS AND SILAO-SIKELEKO 38 2. 4 CREATIVE PROCESS IN A FRICAN MUSIC .. 44 2. End . 48 CHAPTER THREE . 49 RESEARCH DESIGN AND METHODOLOGY 49 3. 1 INTRODUCTION .. 49 3. 2 RESEARCH DESIGN .. 49 3. Populace AND SAMPLING 50 3. 3. 1 Target populace . 50 3. 3. 2 Purposive inspecting . 50 3. 3. 3 Snowball testing .. 51 3. 4 DATA COLLECTION . 2 vi 3. 4. 1 Fieldwork 53 3. 4. 2 Interview strategy . 54 3. 4. 3 Observation . 56 3. 4. 4 Note taking .. 56 3. 4. 5 Audio and video ecording.. 57 3. 4. 6 Photography .. 57 3. 5 DATA PROCESSING, ANALYSIS AND INTERPRETATION.. 58 3. 8 CONCLUSION . 58 CHAPTER FOUR . 0 FORMAL STRUCTURE OF LITUNGU MUSIC 60 4. 1 INTRODUCTION .. 60 4. 2 SILAO-SIKELEKO STRUCTURE . 61 4. 2. 1 Narration . 62 4. 2. 2 Dialog by Two People. 3 4. 2. 3 Dialog by More Than Two People 64 4. 3 OCCURRENCE OF SILAO-SIKELEKO. 67 4. 4 THE CONSTRUCTION OF INSTRUMENTAL PHRASES .. 71 4. 5 OVERALL FORM OF LITUNGU MUSIC .. 79 4. 7 CONCLUSION . 2 CHAPTER FIVE .. 94 THE CULTURAL ROLE OF SILAO-SIKELEKO IN BUKUSU LITUNGU MUSIC . 94 5. 1 INTRODUCTION .. 9 4 5. 2 THE ORIGIN OF THE SILAO-SIKELEKO ELEMENT IN LITUNGU MUSIC .. 95 5. 3 CONTEXT OF SILAO-SIKELEKO IN LITUNGU MUSIC .. 97 5. Social FUNCTION OF SILAO-SIKELEKO IN LITUNGU MUSIC 105 5. 4. 1 Introduction and Acknowledge Personalities 105 5. 4. 2 Education . 108 5. 4. 3 Self Expression . 113 5. 4. 4 Social Commentary. 113 5. End .. 121 CHAPTER SIX 123 SUNG TEXT AND SILAO-SIKELEKO . 123 6. 1 INTRODUCTION 123 6. 2 THEMATIC ROLE OF SILAO-SIKELEKO .. 24 6. 3 QUANTITY OF SILAO-SIKELEKO IN LITUNGU MUSIC . 136 6. 4 LANGUAGE USE 141 6. 4. 1. Composition versus Poetry. 143 6. 4. 3. Symbolism 145 6. 4. 6. Axioms and Sayings 48 6. 4. 7. Imagery . 152 6. 4. 9. Enigma .. . 155 6. 4. 10. Colloquial Expression . 156 6. 4. 11. Moral story 156 6. 5. WORDS DEPICTING RELATIONSHIPS 158 6. 6 CONCLUSION .. 160 CHAPTER SEVEN .. 163 vii PERFORMANCE COMPOSITION IN BUKUSU LITUNGU MUSIC 163 7. 1 INTRODUCTION 63 7. 2 PREREQUISITES FOR THE IMPROVISATIONAL PROCESS . 165 7. 2. 1 Prolonged Exposure to Music 167 7. 2. 2 Knowledge and Mastery of Lubukusu .. 171 7. 2. 3. Information on Cultural Environment and Events .. 173 7. 2. 4. Nearness and Maturity of Audience .. 174 7. 2. 5. Intra-Group and Inter-Group Interaction 175 7. 2. 6. Information on Instrumental Genre . 176 7. 3 THE CONSTANT AND VARIED FEATURES OF LITUNGU MUSIC .. 177 7. 4 THE CREATIVE PROCESSES 188 7. 5 CONCLUSION .. 193 CHAPTER EIGHT .. 195 SUMMARY, CONCLUSIONS AND RECOMMENDATIONS.. 195 8. 1 SUMMARY . 195 8. 2 CONCLUSIONS 195 8. 3 RECOMMENDATIONS .. 99 BIBLIOGRAPHY .. 201 APPENDIX I 216 SONGS IN LUBUKUSU AND THEIR TRANSLATION INTO ENGLISH 216 APPENDIX II .. 252 CONSENT FORM FOR RESEARCH ASSISTANTS .. 52 APPENDIX III . 254 CONSENT FORM FOR INTERVIEWEES . 254 APPENDIX 1V 255 INTERVIEW QUESTIONS . 55 APPENDIX V .. 256 FOCUS GROUP DISCUSSION INTERVIEW GUIDE 256 APPENDIX VI. 257 INDEX TO AUDIO CD . 257 viii ILLUSTRATIONS LIST OF FIGURES 1. 1 Map of Kenya indicating the area of Bungoma region 1. An Exam

L’Oreal : Strategies for the Indian Market Essay

1. Assess L’Oreal’s passage system in the Indian market as for the item, advancement, valuing and place choices? 2. What have been the adjustments in the showcasing system of L’Oreal over the most recent 8 years? Assess them as for determination of item/advertise and every component of the promoting blend? 3. What elements helped the quick selection of Excellence colorants among its objective clients? 4. Assess the choices accessible to the administration to accomplish target deals of Rs. 1 billion in the year 2000. Set up an examination of different advertising blend alternatives and choices inside individual blend components †target showcase, item, channel, advancement, and cost. a) Show the counts and allude to these obviously as they are utilized in assessing alternatives for choices in the advertising blend. b) Which item/markets should the organization center upon? Mediquip S. A. Meeting 5: Preparation Questions 1. What were Thaldorf’s significant qualities and shortcomings as an agent of Mediquip? 2. Distinguish every individual from Lohmann Hospital’s dynamic unit (DMU)? 3. What were the necessities, concerns and inspirations of each DMU part? 4. What was the relative force position of each DMU part? 5. How very much did Thaldorf interface with every individual from the DMU? 6. On what date did Thaldorf viably lose the deal to Lohmann University? Rosewood Hotels and Resorts: Marking to Increase Customer Meeting 9: Preparation Questions 1. For what reason is Rosewood thinking about another brand technique? 2. What are the advantages and disadvantages of moving from singular brands to a corporate brand? 3. Will the transition to corporate marking amplify client lifetime esteem? SaleSoft Inc. Meetings 10 and 12: Preparation Questions 1.What is your arrangement? Do you intend to proceed with PROCEED or will you present the TH item? Offer help for your arrangement. 2.What is the purchasing cycle for PROCEED ? Who are the individuals associated with the acquisition of a CSAS arrangement ? What is the job of specialists? 3.What is SaleSoft’s current way to deal with selling PROCEED ? 4.Quantify the advantages of CSAS to a client utilizing the data given in Exhibit 7. 5.What worth does TH give a client ? How is this not the same as the client esteem conveyed by PROCEED ? 6.What is a Trojan Horse ? How can it encourage client procurement and maintenance ? 7.How will you value TH ? Accept variable expenses of $200. 8.How do you think SaleSoft’s association structure will influence its capacity to sell PROCEED or TH ? 9.How will you bolster the clients of PROCEED and/or TH? HP Consumer Products Business Organization : Conveying Printers by means of the Internet Meeting 13: Preparation Questions 1.What sort of on-line nearness do you figure HP ought to have ? Why ? 2.What dangers do you find in your technique? How might you oversee them ? 3.Should printers and printing supplies be dealt with diversely ? 4.What would the individuals, best case scenario Buy think about your arrangement ? Would it be any unique at CompUSA or the equivalent ? What responses may they need to updates on your arrangements ? Tanishq Meeting 15: Preparation Questions 1. How did the situating of Tanishq brand develop? What components affected the adjustments in its situating? 2. For what reason was GoldPlus propelled? How would you rate its exhibition? 3. What is your suggestion to Bhaskar Bhat to focus on the plain gold adornments showcase in India? Rundown the vital, monetary, hierarchical and brand speculation effect of your proposal. Centra Software Meeting 16: Preparation Questions 1. What are the clients of Centra purchasing? What advantages are do clients get from Centra’s items? In what manner ought to Centra fragment its market? 2. Does Centra need a procedure to choose which clients to choose or would it be a good idea for it to angle where the fish are gnawing? 3. Ought to Centra utilize every one of the three channels to offer the three items to all clients or would it be advisable for it to utilize a few items and channels to focus on certain portions? 4. How might you settle the question among Reed and Lesser on the best way to convey the telesales group? OK extend telesales? Goodbye Ace Meeting 17: Preparation Questions 1. What elements impacted the advancement of Tata Ace? 2. Is Tata Ace fruitful? Why? 3. Portray the methodologies received to build up the Tata Ace, covering item structure, dissemination, showcasing, administration, sourcing, and so forth which affected its incentive to the organization and the client. 4. Assess alternatives to the directors of Tata Ace for development and methodologies to confront rivalry? Recommend choices for development in existing portion, new markets, sends out, and so forth. CRM at ICICI Meeting 18: Preparation Questions 1. Rundown the variables in the large scale condition which impacts ICICI’s retail business. 2. What is ICICI’s procedure in the retail monetary administrations business? 3. For what reason does ICICI need to assemble long haul relationship with its clients? 4. How could it approach choosing and actualizing a CRM arrangement? 5. What exercises on CRM can be summed up from ICICI’s experience?

Transporting Troubled Teens Into a Treatment Program

Transporting Troubled Teens Into a Treatment Program Theories Behavioral Psychology Print Transporting Troubled Teens Into a Treatment Program By Kathryn Rudlin, LCSW Updated on August 13, 2019 Mixmike/Getty Images More in Theories Behavioral Psychology Cognitive Psychology Developmental Psychology Personality Psychology Social Psychology Biological Psychology Psychosocial Psychology What are the options when there are concerns about transporting a resistant teen to a program that could help them?  Perhaps youve found a treatment program to provide the help your troubled teen desperately needs, but your teen refuses to go and threatens to run away if you try to force them. Or perhaps you have fears your teen may try to physically harm themselves or someone else if you transport them to the program, especially if its far away.  In these situations hiring teen transport or escort service provides a possible solution.   What Is a Teen Transport Service? Emotions often run high in arranging for a teen to leave home to go into a treatment program. Teen transport services are designed to help by providing safe transportation and a therapeutic transition to programs such as wilderness therapy, residential treatment centers  (RTC) or residential drug treatment. The staff who work for these services anticipate resistance from the teens they transport, so they are trained to look for signs of anxiety or attempts to run and have a plan for how to respond. In most cases two agents or interventionists pick your teen up, catching them by surprise if needed, and take them to the program. The goals are to ensure safety during the transport and to educate and support the teen emotionally to make the transition from home to being in a treatment program. What Happens When a Teen Is Transported? Escort services vary in their specific approaches and procedures, but most share a similar overall strategy that takes place during five primary steps: Initial contact. You as parents develop a plan with the staff of the transport service that takes into account where your teen is going, concerns about getting them there and any special medical or emotional needs.Initial team arrival. You meet the team at the front door or outside the house to provide information about your teens current status, give the team items needed for your teens trip and describe the layout of the home, including potential escape routes.Intervention. This is usually the most difficult time for both teens and parents. You go into your teens room, wake them up if needed, introduce the team by name and provide a simple explanation that they are here to make sure your teen gets to the program safely. You then leave the room to reduce the opportunities for your teen to be verbally abusive or attempt to manipulate you and let the team take over. The transport team will firmly establish they are in charge and escort your teen to the transport vehicle.Transportation . The team sets boundaries for your teen and explains what behavior is acceptable and what is not. The team may be driving to the program or taking your teen to the airport, where one or both of the team members will accompany your teen on the plane. At this point, your teen will need to be calm and cooperative enough to fly. If not, the rest of the trip will need to be continued in the transport vehicle.Transition to the treatment program. As soon as your teen is in the vehicle, the staff starts preparing them for the treatment program that they will soon be entering by trying to decrease their anxiety, answering questions, providing information about what to expect and encouraging your teen to be open to giving the program a chance. The team stays with your teen until they are physically transitioned into the treatment program Does the Transport Team Come in the Middle of the Night? Sometimes they do and this is the image most parents have of teen escort services, but it is not the only option. In some cases taking a teen by surprise and getting them moving while too groggy to resist makes sense, but a good company will strategize with you to develop an intervention that happens where and when it will be in the best interest of your teen. Are Physical Restraints Used to Transport Teens? These services have somewhat of a reputation for handling teens aggressively, but this appears to be the exception rather than the rule. Initially, these companies were set up to handle only potentially combative or difficult teens, but now these services have expanded to be more supportive of both teens and parents. This shift in philosophy has also changed how most companies facilitate the transition. Interventionists or agents are trained to treat teens with respect, to verbally de-escalate aggressive and resistant behavior and to keep your teen safe through verbal means, resorting to physical restraint only when absolutely necessary. Most agents do carry plastic restraints or handcuffs to use if needed. No legitimate company uses pepper spray or other aggressive methods for teens. When Is Using a Teen Transportation Service Appropriate? The decision to use transport services to get a teen into a treatment program has to be made carefully by a parent, based on knowing your teen and learning about the services available. There are no firm guidelines for when to use or not use this service, but in most cases, this type of intervention is best suited for teens who are mean, aggressive, defiant, manipulative, angry or hostile. Other candidates for being escorted are teens who are abusing substances, or have a history of illegal behavior or running away. For teens who are depressed, cutting  or have an eating or mood disorder, parents are advised to be careful in making this choice and to only consider using a service that is focused on transporting teens in a positive manner, as it could do more harm than good in these cases. Hiring a therapeutic teen transport service is often a last resort but it doesnt need to be a negative experience and many times may be the only way to get a troubled teen the help they desperately need. This option is most often used for potentially volatile teens, but should also be considered for teens in need of extra support or when there is uncertainty about how a teen may react.