Department of Performing Arts

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Analysis of the Cultural Meaning of Okulamusa Practice of the Basoga People of Uganda
(Southern African Journal for Folklore Studies, 2025-05-13) Isabirye, James
Prolonged greeting practices of various communities particularly in Africa offer insights about the deeper meaning of social interactions among people in a modern global society where individualism and its attendant challenges to humankind are increasing. This study was about okulamusa, an indigenous greeting practice of the Basoga people of Uganda. Although this heritage embeds deep Basoga sociocultural values, there is barely any scholarly analysis of its meaning to the community and application in a contemporary context. This study aimed at finding out the nature of interactions and relationships that okulamusa engenders, its cultural value, and what could be learnt about and from the engagements in this practice. The study employed phenomenological and auto-ethnographic methods, and involved 22 participants. Data was obtained through observation, interviews, focus group discussions, auto-ethnographic reflection, and analysis of extant YouTube videos and online audio files that were widely publicised. The inquiry revealed that okulamusa is a contextual asking of questions and telling of holistic human experiences, which embed construction of individual and collective identity, and nurturing of a socio-collectivist community spirit, understanding, unity, cohesion, and coexistence in society. These virtues are transmitted in an intergenerational manner as a means of sustaining the community’s ethical and social fabric. The study concluded that okulamusa, just like other similar prolonged greeting cultures, is a central cultural practice that shapes human interactions and relations, which have implications for contemporary social development initiatives.
Can indigenous music learning processes inform contemporary schooling
(International Journal of Music Education, 2021-02-24) Isabirye, James
This autoethnographic study investigated possibility of incorporating indigenous pedagogies into Ugandan school music and, possibly, general education. School music education in Uganda currently occurs within a colonial-influenced system that does not connect with learners’ indigenous cultures. The colonial system fosters belief that “western” is modernity and “indigenous” is backwardness that should be erased. School music learning is currently experienced in a teacher-dominated, “banking” (Freire, 1970) school system that disempowers learners and produces graduates who cannot address the musical needs of their worlds. Ugandan government measures to improve music and general education have not improved the situation. Literature on the role that indigenous pedagogies could play in a contemporary music education is limited. Through this study, I sought to understand what might happen when indigenous education pedagogies are incorporated in a contemporary, formal school setting. Informed by relevant literature, I interrogated and analyzed my own learning and teaching experiences in Ugandan communities and schools and found that embedding indigenous learning and teaching processes in music classrooms fostered growth in learner leadership, ownership, agency, and identity in the context of mutually shared participatory experiences that learners found relevant and meaningful—experiences that engendered joyful, passionate, collaborative learning, and reification of reflective practice among learners.
Catholic church music festivals and the development of musicianship in Ediofe vicariate, Arua diocese (Uganda)
(Kyambogo University (Unpublished work), 2021-04) Awuta, Juliet Driwaru
This study explores how the Catholic Church music festivals in Ediofe Vicariate, Arua diocese, an annual event, became a platform for the development of musicianship among the members. In other words, the study is an investigation of how these festivals enable different people (especially the choir members) to acquire skills of conducting, performance, composition, analysis, adjudication, reading and writing of music as well as playing and tuning instruments thus becoming musicians. Although there are various vicariates that organize and participate in these festivals, I chose Ediofe Vicariate in Arua District as my Case Study, to investigate how these festivals started, developed and how they have enabled the participants to develop musicianship. The study was conducted against the background that although music festivals bring together different people, there is inadequate research on how they become a platform for taping the development of musicianship in the people who engage in them. Moreover, there was need to document the process through which these festivals were started, how they are organized and the different stakeholders who organize and participate in them. As such, I adopted a qualitative methodology, under a case study approach, to examine how these festivals are organized, the nature of repertoire and stakeholders and explore how they act as a platform through which musicianship is developed. The study has revealed that indeed music festivals in Ediofe Vicariate act as a site where participants develop musicianship. This musicianship is manifested through the acquired skills to read and write music, choir training, conducting, analyzing, adjudication, composing as well as instrumental making/playing and tuning. The choir members I interacted with during fieldwork had participated in these festivals during previous years and had acquired experience through singing, dancing and playing instruments thus becoming musicians.The objectives of this study in this study are; To examine the background of music festivals in development of musicianship among choir members of Ediofe Vicariate, Arua Diocese. To discuss the items constituting the repertoire for music festivals in development of musicianship among choir members of Ediofe Vicariate, Arua diocese. To examine the contribution of the different stakeholders in the development of musicianship among choir members of Ediofe Vicariate, Arua Diocese and to explore how music festivals can become a platform for developing musicianship in Ediofe Vicariate, Arua Diocese. The implications of the study reveals that indeed over the years there are annual festivals organized in Ediofe Vicariate Arua Diocese and these festivals have a set syllabus. Stakeholders are involved in the organization of these festival and all their roles enhance the development of musicianship among the choir members at various levels and with various capacities in understanding what is entailed in musicianship in Ediofe Vicariate Arua Diocese.
Children’s musical learning through play and transmission of Ssekitulege music culture in Wakiso district Uganda
(Kyambogo University(Unpublished work), 2024-11) Kazibwe, Abel Alvin
This study aimed to explore the factors that facilitate the transmission of musical knowledge and skills among children through play. The Ssekitulege (earth bow) musical culture served as a framework to enable explore the children’s ability to acquire knowledge from older skilled and other experts, as well as their capacity to share this knowledge as peers. The research was conducted in Wakiso district of Uganda, involving children aged five and above together with skilled adults. The study was conducted with the following objectives: 1. To find out the background and processes the children engage in when making Ssekitulege Musical instrument. 2. To investigate how children play Ssekitulege in Wakiso district 3. To examine what facilitates children’s acquisition of knowledge about Ssekitulege and its cultural significance from their peers during Musical play. The study investigates the Ssekitulege, focusing on its cultural background and the ethnic values that inform its use, including specific taboos. It describes the materials and tools involved in making the instrument and outlines the processes that children engage in during its construction. The research highlights children’s interactions with the Ssekitulege, detailing various playing techniques, handling methods, sitting postures, types of music performed, and repair techniques. Furthermore, it explores how children learn about the Ssekitulege through peer observation, underscoring its cultural importance. A significant finding is that children’s desire to share Ssekitulege music culture in a playground context is shaped by factors such as language use, cooperative learning dynamics, teamwork, a supportive learning environment, and active participation. This study was a Qualitative Participatory Action Research (PAR)that aimed at revitalizing the Ssekitulege music culture, which is threatening extinction in Buganda. The researcher actively engaged in the processes of creating, teaching skills, and sharing of knowledge among children, while also gathering and documenting those engagements. The researcher employed various methods such as direct participation, interviews, observation, and audio-visual and photography recording tools to collected
Community musicking and musical cognition among adungu music communities of the Acholi people from Awach, Gulu district, Northern Uganda
(Research Studies in Music Education, 2024-07-31) Isabirye, James
This ethnographic inquiry investigated the nature of musical cognition that engagements in the Ugandan Acholi people’s adungu music culture engender, what can be understood about musical cognition in nonwesternized oral community music-making experiences, and how this might inform school music education theory and practice. Schooling in Uganda mostly upholds colonial epistemes that separate cognitive, affective, and psychomotor domains, and position the arts and culture at the periphery of school experiences. Through a thematic analysis of data from interviews, focus group discussions, and observations of Anyim Lac troupe music community engagements, this study found that sociomusical experiences engender musical cognition where the musical spirit, mind, body, and environment interactions birth musical understanding. Musical cognition was understood as a holistic process of reflecting, creating, recreating, and acting emotionally where these musical spirit, mind, body, and environment interactions are shaped by culture. Since humans perceive, perform, and learn music as the embodiment of the interaction between musical spirit, mind, body, and environment, educators might need to create contexts where learners engage in learning experiences in ways that embed awareness of the intertwined nature of musical spirit, mind, body, and environment in those meaning-making processes.
Cultural identity and learning of amakondeere music among the Baganda in Kassanda district, central Uganda
(Kyambogo University (Unpublised work), 2024-11) Kibuuka, Moreen
This study investigated how cultural identity influences learning of amakondeere music, a traditional royal gourd trumpet of the Baganda people, within Kassanda District. It focused on understanding how a sense of belonging to the Baganda culture impacts individuals' interest in learning and performing amakondeere music and how this can inform music education in schools. Given that, the performance of amakondeere music is on a great decline, which possess a great threat of extinction to such rich cultural heritage, this study resurrects the significance of amakondeere music, bringing to mind its contribution to music education in Uganda. In particular, this study aimed at establishing how participation in cultural practices enhances learning of amakondeere music, by paying close attention to the role of customs and traditions in the learning process. The study also explores how language and other cultural values contribute to the transmission of amakondeere music in Kassanda District, Central Uganda. A phenomenological research design was employed to capture participants' lived experiences. Data was collected through interviews, focus group discussions, and observations of amakondeere engagements, then transcribed, translated, and thematically analyzed. The analysis revealed that children and youths in Kassanda learn amakondeere music as part of their cultural identity, with learning being reserved for males of all ages and social statuses from the Nnyonyi-Nnakinsige clan. It is a holistic process, where learners must know how to craft, play, and maintain the instruments. Amakondeere learning engagements emphasizes okukolera awamu (working together), where experts mentor novices through hands-on learning and observation. The process is culturally meaningful, driven by a passion for improving both individual and community well-being. Luganda language, customs, beliefs, obulombolombo (rituals), and emizizo (taboos) are integral to learning, as they embed a sense of identity and encourage participation. Based on the findings, the study recommends that music educators recognize the importance of cultural identity in motivating learning. Buganda kingdom officials, the National Curriculum Development Center (NCDC), and schools need to collaborate with the amakondeere music community in Kassanda to integrate amakondeere music and other similar cultural music forms in the curriculum, to expand career opportunities for aspiring musicians. Additionally, there is a need for royal authorities to collect and archive amakondeere music for future reference.
Cultural valuing and learning of Enanga music among the Bakiga youth in Kabale district, South-western Uganda
(Kyambogo University (Unpublished work), 2024-11) Niwagaba, Medad
This study, which focused on how cultural valuing contributes to the learning of Enanga (trough zither) Music was conducted in Kabale district, South Western Uganda. There is apathy towards the learning of Enanga Music among the Bakiga youth. Enanga Musical instrument is rarely played and this is threatening its extinction yet it is expected to carry on the transmission of Kiga cultural values and traditions to the next generation. The study was guided by the following objectives: to find out whether listening to Enanga Music increases learning the of Enanga Music culture, to establish whether playing of Enanga increases the learning of its culture and to establish how Enanga Music can be revitalized among the Bakiga youth. An auto ethnographic research design was adopted and additional data to corroborate the researcher’s reflections was obtained through ethnographic methods such as participant observations, interviews and Focus Discussion Groups. Qualitative data was obtained using research instruments such as interview guides, observation guides and Focus Discussion group guides. Thirty informants were selected using purposive and snowball sampling techniques. Two sets of data: auto ethnographic and ethnographic were presented and qualitatively analysed. The study revealed the following findings: the current Bakiga youth do not attach value to Enanga musical instrument and therefore do not prioritize learning Enanga Music instead they cherish listening to computer generated Music. The advancement of computer-generated Music and the introduction of sophisticated western musical instruments had taken over the space of Enanga Music. There were limited interventions towards revitalization of Enanga Music in Kabale district. Sentiments by Christian missionaries regarding Enanga as a satanic instrument continued to haunt its culture. The study concluded that the Bakiga youth did not attach value to Enanga and its Music, community participation in Enanga Playing increased the learning of its Music culture, scarcity of enanga players was causing its disappearance in Kabale didtrict and there was urgent need for interventions towards the revitalization of Enanga Music among the youth in Kabale district. Therefore, the study recommended that media should provide adequate space for Enanga Music to be heard in communities, cultural galas be established in communities and emphasize Enanga Music where winners are rewarded. Enanga Music should be integrated in contemporary Music styles, be documented through audio-visual media and online platforms be created where Enanga playing could be shared. Cultural bearers, makers and Enanga Music should be adequately rewarded for their efforts as a measure of appreciating their contribution to society and motivating them to carry on.
Democratising the Theatre for Development (TfD) Space through Balancing Power Dynamics: Analysing Practice-Based Experiences from Uganda
(Routledge, 2024) Banturaki, Keneth
The awareness of power dynamics is fundamental in the implementation of a democratic Theatre for Development (TfD) process. This chapter draws from the author’s practical experiences with TfD practice in Uganda to advocate for effective balancing of the power playing plane. In the first experience, where the author participated as part of the facilitating team of the TfD project aimed at empowering small scale fish farmers, it is argued that if the funders have unrestricted power to dictate the terms of reference for TfD practice, without accommodating the views of the practitioners, it becomes difficult for practitioners to implement a truly democratic process of TfD. In another experience, in Eastern Uganda where the author participated as an invited research observer, it is observed that when the performances of power between the practitioners and the funding bodies are effectively negotiated, the TfD process, depending on the skill and ingenuity of the practitioner yields effective engagement and empowerment. The chapter urges that practitioners should always strive to establish a horizontal plane of working, in dealing with both funders and the communities with which they work. This requires practitioners to assess the impact of their actions, always negotiating and moderating the performance of power in the process.
Electronic music devices and software in music teaching and learning at the department of performing arts, Kyambogo University
(Kyambogo University [ Unpublished work], 2021-03) Busobozi, Nicholas
This was a study to examine how Electronic Music Devices and Software (EMDS) were used to enhance music teaching/learning at the Department of Performing Arts, Kyambogo University. The study aimed to evaluate how available EMDS were utilized in teaching/learning music, examine the effect of use of EMDS in teaching/learning music, and find out the challenges that hampered utilization of EMDS in teaching/learning music. A mixed study design both qualitative and quantitative was used, where both the Laird’s Sensory Theory and the Peter Principle’s Theory were applied in trying to understand variables of the study. The response rate of 78 respondents (100%) participated, where purposive sampling and simple random sampling techniques were used. The study employed questionnaire, interview, and document review, observation, and focus group discussion methods to collect data. Data was analyzed in themes, by coding and sorting similar responses. According to the findings, lecturers used the available EMDS to teach students both theory and practical skills in music, the use of EMDS had a positive effect on music teaching/learning, and inadequacy in knowledge, electricity power supply, internet connectivity, and virus attacks hampered the use of EMDS to teach/learn music. The study recommended; lecturers to be skilled more in using EMDS, timely repair of EMDS, and provision of alternative power supply to run EMDS continually. Further studies could be conducted to explore attitude of stake holders in using EMDS to teach/learn music
Evaluation of music education in selected primary teachers colleges in the central region of Uganda
(Kyambogo University(Unpublished work), 2019) Nambirige, Catherine
The purpose of this study was to evaluate the teaching of Music Education in Shimon , Kibuli and Ggaba Primary Teachers’ Colleges, all found in the Central region of Uganda. The study was guided by the following objectives; Find out how music teaching and learning is conducted, assess the administrative support given towards the teaching and learning of music and find out the challenges encountered during the teaching and learning of music and suggest solutions thereafter. A descriptive design was conducted to collect facts, views and experiences during the teaching and learning. The study findings revealed that; Music teaching and learning was not properly conducted because of different factors like; methods employed by tutors which contradicted those suggested in the music syllabus thus tutor-centered instead of student –centered methods and absenteeism of tutors. It was also revealed that the time allocated to music was not sufficient given the breadth /or extensiveness of the content but still, it is not properly utilized because of absenteeism of music tutors. It was concluded from the study findings that; the teaching and learning of practical skills in the classroom is very minimal because most of the practical activities according to the syllabus are out of class activities. The following recommendations were suggested. There is need for curriculum developers through the Ministry of Education and Sports to continuously organize workshops, seminars and refresher courses aimed at helping tutors enrich their professional practice. On the academic point of view, the study gives detailed information of how best music teaching can be handled in Primary Teachers’ Colleges in order to produce well balanced and competent practical music teachers.
Experimenting with child empowerment through Theatre for Development (TfD) in Uganda: my experience with a child rights TfD project in Gganda-Wakiso
(Consciousness, Literature and the Arts., 2018-04-01) Bamuturaki, Keneth
The Convention on the Rights of the Child guarantees the child’s freedom of expression, thought and association. It upholds child’s freedom to seek, receive and impart information and ideas of all kind, regardless of frontier, either orally, in writing or in print, in the form of art or through any media of the child’s choice. These freedoms also uphold the child’s right to express an opinion and be heard and relates closely to children working and sharing ideas in groups. In Uganda, there have been attempts by Non-Governmental Organisations (NGOs) such as Raising Voices, Acting for Africa and Restless Development to involve children in child rights issues but their model has largely focused on having children to participate in the NGOs’ projects rather than empowering them to design and participate in their own projects. Furthermore, as Paul Moclair would put it, ‘while Ugandan NGOs have convincing reasons for promoting children’s participation, their goals of participation are primarily designed for the consumption of the donors whose perceptions of development remain dominated by products rather than processes’(Moclair 2009). The school environment in Uganda could offer opportunities to foster child empowerment since children spend most of their time at school. However, this is hampered by authoritarian power relations between the teachers and the learners and a learning model where children are treated as empty pinchers waiting to be filled with knowledge. In this article I analyse using my practical experience with a Child Rights TfD project in a school community in Gganda Wakiso, Central Uganda how TfD can be used to empower children in analysing issues affecting their lives. The article argues that if children are facilitated to participate in making theatre focusing about their needs, they are given opportunity to learn, reflect and express their voice on issues which affect their lives. In short, they engage in an empowering and transformative process.
Indigenous education pedagogies and learning of oringia (tube fiddle) music in selected primary schools in Arua city, north western Uganda
(Kyambogo University(Unpublished work), 2024-11) Anguparu, Mary
This research investigated whether and how indigenous pedagogies might contribute to learning of oringia music in primary schools in Arua City. School education uses traditional western models that do not fully facilitate transmission of indigenous cultures such as oringia. The objectives of the study were: to establish the indigenous pedagogies that are used by primary school teachers in the teaching of oringia music in primary schools in Arua City, to find out learners views in selected primary schools in Arua City about the learning of oringia music through indigenous pedagogies, and to establish the perception of teachers in selected primary schools in Arua City about the learning of oringia music through indigenous pedagogies. The study used a phenomenological design to where respondents lived experiences were narrated to the researcher through use of interview, and Focus Group Discussions. The researcher was invited to observe some lessons, and data was gathered from 24 respondents that were selected purposively. The study revealed that indigenous pedagogies that are used to learn oringia might be described in English as apprenticeship, demonstration, imitation, emulation, collaboration, and narration of stories. Oringia culture bearers and teachers guide learners through dynamic learning processes, emphasizing experiential, interactive, collaborative instruction that embed cultural significance and inspire learners to identify with community. Learners' passion for oringia music caused deep engagement, skill development, and fostered a sense of identity, and supported their peers to learn. This peer-mediated learning nurtured learners’ communication skills, supported relationships building, and aided skill transfer, and indigenous ways of learning allows learners ample time to deeply gain knowledge and skills of oringia music from skilled community members. The study recommended inclusion of indigenous ways of learning in schools settings to facilitate acquisition of origia music knowledge and skills, and support various areas of school education.
Indigenous education pedagogies and transmission of the Banyankore people’s Omukuri music in selected primary schools of Kazo district, western Uganda
(Kyambogo University (Unpublished work), 2024-10) Ntambirwe, Rolline
This study sought to find out how indigenous education pedagogies might support the transmission of the Banyankore people’s omukuri in primary schools. The study was motivated by the fact that indigenous education pedagogies are neglected in school setting, yet they have capacity to endanger meaningful learning. More so, the omukuri culture is under threat of extinction. The objectives of the study were: (1) to find out the nature of indigenous education pedagogies used in the transmission of omukuri music culture in primary schools of Kazo district, western Uganda 2) to find out the limitations of using indigenous education pedagogies in the transmission of omukuri music in primary schools of Kazo district, western Uganda. 3) to suggest solutions to limitations of using indigenous education pedagogies in the transmission of omukuri music in primary schools of Kazo district, western Uganda. This study was ethnographic; therefore, data was qualitative. Data collection tools included interviews, participant observation, focus group discussion and audio- visual recordings. The study revealed that most schools do not transmit omukuri music therefore indigenous education pedagogies are used by some schools that put an effort to teach the instrument. The study established that the bamboo stems, PVC pipes and text books to be used in learning of omukuri are hardly available. It also revealed that teachers lacked the skills and knowledge of indigenous pedagogies to handle the learning of omukuri. Music is not allocated time, focus is on attainment of excellent PLE grades according to the education system. Music is not an examinable subject. The study recommended that there should be mobilization and senstisation of parents, learners, teachers and school administrators towards music learning. There might be a need for a collected effort to look for instructional materials and sourcing resource persons who can enhance the use of indigenous education pedagogies and transmission of omukuri music.
Indigenous music education pedagogies and students soft skills acquisition in selected secondary schools in Arua city, Uganda
(Kyambogo University (Unpublished work), 2024-09) Driciru, Regina Yia
Through this study, I sought to explore the use of indigenous music education pedagogies for students’ soft skills acquisition in secondary schools in Arua City. Phenomenological design was used to understand the lived experiences of the participants. Autoethnography enabled me to draw on my own experience as a music teacher to understand if and how indigenous music education pedagogies could be used to nurture students’ soft skill in a classroom setting. Data was collected using Focus Group Discussions (FGDs), interviews and observations. To ensure a clear presentation of the study's findings, content and narrative analysis was employed for construing the qualitative data. The collected data was then organized into thematic patterns and interpreted allowing for a comprehensive understanding of the information. The analysis of data revealed that pedagogical approaches currently employed in contemporary educational settings, such as storytelling, learning by doing, and guided participation, have equivalent versions in Lugbara indigenous practices. For example, storytelling in Lugbara language is referred to as a’diko daza or o’duko ‘daza. The concept of learning by doing is expressed as e’yo onizu ‘yetaa si, and guided participation is known as e’yo onizu azakoma ba azi vu ri si. These findings highlight the deep-rooted educational practices within the Lugbara culture that parallel modern pedagogical approaches, emphasizing the continuity of indigenous knowledge systems in contemporary education. The second objective sought to examine whether Indigenous music education pedagogies could cultivate essential soft skills such as communication, collaboration, creativity, critical thinking, and problem-solving among secondary school music students in Arua City. However, Indigenous music education pedagogies not only developed these essential soft skills but also ignited an extraordinary growth in leadership, self-confidence, empathy, self-directed learning and resilience. This research fills a critical gap in existing literature by illustrating how Indigenous music education pedagogies can complement contemporary educational practices, particularly in fostering not only academic skills but also essential soft skills to prepare students for the complexities of a rapidly evolving world. The study calls for professional development programs that emphasize culturally responsive pedagogies to enhance teaching practices. Future research could investigate how these pedagogies influence different educational settings providing deeper insights into their broader applicability.
Indigenous music learning in contemporary contexts : nurturing learner identity, agency, and passion
(Research Studies in Music Education., 2021-02-20) Isabirye, James
I studied the revival project that involved teaching and (re)learning of a nearly extinct music tradition of the Basoga people from Uganda, to find out what might be learnt about and from those learning processes, and insights that might be applicable in formal educational settings. The revival project activities were documented (with participants’ permission) and publicized through a large number of audio and audiovisual recordings, photographs, and reports from community and school settings. Treating this documentation as extant data, I engaged in a qualitative analysis of the social and musical interactions between and among the two surviving master musicians and the youths to understand the nature and meaning of these learning experiences. Emergent themes reflected that nurturing identity, agency, and joy-filled passion among the learners were the main contributing factors that facilitated a successful transfer of knowledge and skills from the elderly master musicians to multitudes of youths.
The interplay between music and politics in Uganda: a case of by-elections in Bugiri, Jinja East and Kyadondo East constituencies
(Kyambogo University, 2021-03) Dhikusooka, Peter
This study set out to understand the interplay between music and politics in Uganda, particularly focusing on by- elections of three places. For this case of by- elections in Bugiri, Jinja East, and Kyadondo East, the study specifically, sought to establish the different types of popular music that have been used in by- elections, determine how popular music and politics influence each other and identify challenges facing the interplay of popular music and politics in Uganda. A mainly qualitative research design was utilized to find out answers to the major problems. While both qualitative and quantitative research tools were employed in the data collection process, the research was mainly situated in the qualitative domain since the nature of the subject called for a critical, and analytical interpretation of the data collected from the field, consequently influencing the reporting of the findings. The study established that music and politics have always existed side by side playing a complimentary role. The study therefore concluded that music and politics exhibits an unlimited relationship, ranging from social, economic, political and academic which has existed for long in a hidden inactive mode that deserved study.
Investigating the teaching and learning of Aural skills in music in selected Kampala secondary schools
(Kyambogo University [ Unpublished work], 2021) Mukuye, Tendo Christopher
The teaching and learning of aural skills in music in Kampala secondary school, must be re-defined in the role and structural nature of teaching music. The approach of teaching aural skills is ineffective due to inadequate methodologies and subsequent creativity of the music teachers‟ individual musicianship skills. Henceforth aural skills are the weakest performed aspect of music on national and school internal examinations. The research therefore begun with a review of all the available related literature on the teaching and learning of aural skills in music in Kampla and Uganda, however it is very limited and hence prompted the researcher into the field to find a way forward. The main objective of the study was to examine the instructional and pedagogical approaches used to teach aural skills, the students perception of aural skills and to investigate on the effects of music educators‟ skills and training in the teaching and learning of aural skills in Kampala Secondary schools. In ascertaining and gathering data for this study, five selected secondary school in Kampala where used to represent secondary schools in Uganda while employing the mixed methods approach together with questionnaires, interviews, observation and documentary analysis as the aiding research tools. In conclusion, aural skills are of significant importance in the teaching and learning of most aspects of music education in secondary schools and one of the main recommendations is that music teachers should be well trained in aural skills so as to transform the music field into a successful one.
Kadodi dance performance and community mobilization for social and economic emancipation of the bamasaaba people in Mbale district, Uganda
(Kyambogo University [unpublished work], 2022-10) Natanga, Khaukha Michael
This study sought to investigate the performance of Kadodi dance as a tool for community mobilization of the Bamasaaba people in Mbale district to engage in activities that might improve their social and economic conditions. The objectives of the study were to find out how: Kadodi instrumental music and dance motifs could contribute to community mobilization for economic and social improvement of the Bamasaaba in Mbale district; family and clan union and re-union during Kadodi dance could contribute to community mobilization for economic and social improvement of the Bamasaaba in Mbale district; identifying with Kadodi dance could contributes to community mobilization for economic and social improvement of the Bamasaaba in Mbale district. The researcher used an ethnographic study design and collected qualitative data from 25 purposively selected respondents. The main data collection instruments were interview, participant observation and focus group discussions. The key findings were that: Bamasaaba unite and support one another as families and clans during Kadodi dance, and this can translate into pooling of resource capital for income generating projects in the communities. Kadodi dance artifacts promote cultural tourism. Performers can be hired by politicians during campaigns because of its power to pull crowds and entertainment. The songs they compose during the Kadodi dance can be archived to form a poetic repertoire that can be used as a reference since the lyrics talk about salient issues that affect their society. The study recommended that the elders, cultural institution and political leaders, need to embrace Kadodi dance as a strong medium for mobilization of their communities for social and economic emancipation. If the encouragement is given to Kadodi dance, it will go a long way at awakening and creating awareness of the community who look at the traditional dance as a mere source of fun and cultural identity but instead use it for social economic emancipation.
Learning of musical instrument- playing among learners with visual impairment in selected primary schools in Kwania district, northern Uganda
(Kyambogo University (Unpublished work), 2024-01) Aciro, Evaline Gloria
This study was about how Teaching facilitates learning of musical instrument- playing among learners with visual impairment in Kwania district, Northern Uganda. The study objectives were; to find out the methods that teachers use when teaching playing of musical instruments among LVIs in selected primary schools in Kwania district, to establish the challenges that teachers and learners face during the teaching of musical instrument-playing among LVIs in selected primary schools in Kwania district and suggest solutions to the challenges that teachers and learners face during the teaching of musical instrument-playing among LVIs in selected primary schools in Kwania district. A phenomenological research design was used to find out answers to the major problems. Interviews, focus group, and documentary review were used. Thematic content analysis was used to analyze data. The study found out that when LVIs are taught to play music instruments, they are empowered to express themselves, to interact with other people and to recognize that they are not totally incapacitated. However, the situation in Kwania, is not yet sufficiently supportive of the LVIs learning of music instrument playing, let alone the general education. The level of teacher skills in engaging LVIs in music instrument playing is still developing, and the facilities were inadequate, UPE schools and established integrated schools lacked most of the required adaptations to enable LVIs access the learning facilities and the general school environment. The study revealed that there is need to train more teachers in special needs education so that at least each regular school has one. Ministry of education and sports should increase on the release sent to Special and UPE schools specifically to cater for LVIs, and Teachers from regular UPE schools has to always tour the established integrated schools in order to learn some lessons concerning teaching methodology of LVIs.
Music instruction practices and competence of Secondary school music teacher trainees: a case of Kyambogo University, Department of Performing Arts
(Kyambogo University [unpublished work], 2023-07) Independence, Petronia
This study evaluates instruction practices and competence of secondary school music teacher trainees at the Department of Performing Arts, Kyambogo University. I was motivated to research on music instruction practices on Diploma in Education Secondary (DES) music teacher trainees due to comments from different secondary school administrators about their music teachers who have trained from Kyambogo University for being incompetent. The objectives of the study are to; 1) To examine the qualities of an effective music teacher to facilitate music learning in secondary schools in Uganda; 2)To examine the nature of instruction practices for producing competent secondary school music teachers at the Department of Performing Arts, Kyambogo University; 3) To find out the challenges that impede the effective delivery of instruction practices during the training of secondary school music teachers at the Department of Performing Arts, Kyambogo University; 4) To work out a plan of action and strategies to transform the training of secondary school music teacher instruction at the Department of Performing Arts, Kyambogo University through engagement of stakeholders . This study adopted a qualitative approach where by Action Research (AR) and evaluative studies were used. Action research was also used by engaging practitioners in a dialogue to analyze issues around DES music teacher instruction to collectively generate practical solutions. The study findings discovered that DES music teacher instruction has challenges associated with music learning. These include; Music education background, attitude towards music teaching and learning, inadequate resources, inadequate time allocated to teach music, government policy among others. This research concludes that;1) An effective music teacher needs to exhibit both practical and theoretical music skills, 2) Music education can be enriched by the background knowledge a music teacher trainee has and the pedagogical skills to facilitate the related content effectively, 3) Inadequate resources as the most challenging factor that impedes effective delivery of music instruction practices needs improvisational techniques for competency in music teaching and embracing active learning and 3) Teaching in a socialized environment with enough engaging activities can transform the instruction of music teacher trainees. Recommendations suggested for the study included the following; Review of the DES syllabus, provision of adequate materials to facilitate music learning and admission of music teacher trainees with music background.

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