Masters Degree Dissertations

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Teachers’ music performance skills and the implementation of the new lower secondary school performing arts curriculum in selected schools in Bushenyi, Uganda
(Kyambogo University (Unpublised work), 2024-11) Niwenyesiga, Enid
This study was about how Music teachers’ performance skills would influence learning of Performing Arts in secondary schools in Bushenyi district, Western Uganda in ways that are prescribed in the New Lower Secondary School curriculum. The study was guided by three objectives: To find out the teachers’ music performance skills that affect the effectiveness of teaching different components of new Lower Secondary School Performing Arts curriculum as required to implement the new Lower Secondary School Performing Arts curriculum, to find out the specific challenges that music teachers face when teaching specific components of the new Lower Secondary School Performing Arts curriculum, to suggest practical solutions to the challenges faced by the teachers of Performing Arts when teaching specific components of the new Lower Secondary School Performing Arts curriculum. The researcher incorporated both Phenomenological and Ethnographical research designs to collect qualitative data using documentary analysis, observation, interview and focus group discussion. The study used the thematic content analysis to analyze data. This involved summarizing and noting the frequency of participants’ responses and observed accuracies. It was found out that teachers of performing arts need to have a combination of competences in order to implement the new Lower secondary School Performing Art curriculum. These, among others include pedagogical skills such as knowledge to interpret the curriculum, ability to structure the teaching and learning processes well, practical competences of reading staff and solfa notes, writing melodies, organizing learners to compose their own melodies, engaging learners, demonstrating to the learners. Besides inadequate music skills, limited instructional resources, serious lack of support from school management to teachers, lack of practical performance skills were some of the major challenges teachers of Performing Art. The study recommended that as a matter of solutions to the challenges teachers of Performing Art face, teachers need to be retooled to equip them with relevant Performing Arts skills, school heads need to support Performing Art teachers and students with appropriate equipments and materials. The study concluded that, a combination of professional pedagogical and performance music skills were necessary for teachers to implement new Lower Secondary School Performing Art curriculum. The professional skills included; interpretation of the curriculum and structuring teaching, whereas performance skills included playing different music instruments, singing, listening, pitching, rhythm keeping, demonstration, directing as well as music writing in both solfa and staff.
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.
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.
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.
Musical apprenticeship and learning of Entongooli (bowl lyre) music in communities of Wakiso district, central Uganda
(Kyambogo University (Unpublished work), 2024-11) Mpoza, Rogers
This study aimed at exploring how entongooli (bowl lyre) music is learnt through apprenticeship in communities. Skilled players are ageing before passing on skills to the young generation. The study therefore generates literature on pedagogies that can support communities and education institutions to acquire entongooli music culture and proficiency in playing indigenous instruments. Specific objectives to the study included establishing how performers of entongooli music learn to play entongooli using apprenticeship, finding out the processes an apprentice can follow to acquire entongooli playing skills, as well as establishing how entongooli learning processes contribute to school music education theory and practice. The scope of the study was Wakiso district located in the central part of Buganda region in Uganda. The study employed a qualitative research design with a case study ethnography that embeds phenomenological methods which lean on individual narration of lived experiences. The study population comprised of experienced players and entongooli learners who were selected using purposive and snowball sampling procedures. Through participant observation, researcher collaborated with community members in understanding how they work. Data was collected using interview guide, observation, focus group discussion, photographs, audio and audio-visual recordings alongside documentary analysis. Findings revealed that performers basically learnt playing entongooli through omu-kw’omu, self-teaching, interactions, collaborations and engagement with ensembles. Other factors included family background, learners’ discipline, environment and quality of experts. It was also revealed that entongooli learning practices contributed to school music education since they involve approaches like emulation, observation, socialization and participation with experienced players. Recommendations included need for education institutions to incorporate apprenticeship ways of teaching and learning in their pedagogies.
Participation of youths in indigenous music and dance performances against modern music practices in selected villages of Iganga district, in Busoga
(Kyambogo University (Unpublished work), 2024-11) Kokusemererwa, Edith
The study examined the “Participation of Youths in Indigenous Music and Dance Performances against Modern Music Practices in Busoga Sub-Region, Iganga District”. The objectives sought to find out: Assess performance of indigenous music and dance and when it is done by the youths in selected villages of Iganga in Busoga sub region. The determinants for the preferred music and dance form of the youth and Implications of the preferred music and dance practices of the youths on their musical experiences. A qualitative research approach was used, with a case study design that led data gathering through interviews, focus group discussions, and observation. Nakalama and Nawanhyingi sub counties in Iganga district were purposely selected areas for the study where respondents were selected randomly, and also on snowball information. The study revealed that Tamenhaibuga and nalufuka music and dance practices were rarely exhibited by the youths through special specific functions and parties which were always organized by specific people put in charge. The study also found out that modern music and dance forms are much preferred and performed than the Busoga ethnic or indigenous music and dance by youths in the village settings. Furthermore, youth preference of modern music and dance forms is making them gradually lose knowledge, skills and names of indigenous music and dance forms, which may eventually lead to their extinction in the future generations. The study recommends that the Ministry of Gender, Labour and Social Development boost its efforts to establish district cultural centers for the practice, promotion, and preservation of indigenous music and dance traditions for future generations. This should be handled by the district's cultural officers.
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.
Participation in community musical engagements and learning of Adungu music in Awach, Gulu district, Uganda
(Kyambogo University (Unpublished work), 2026-11) Adong, Santa Sarah
Community participation has for long been documented as one of the major ways through which musical practices and knowledge are transferred from one generation to another by supporting effective learning of a practice that members of a society deem meaningful. The purpose of the study was to find out the role that community participation plays in promoting learning of the adungu music among the Acholi people in Awach, Gulu District of Northern Uganda. The study was guided by social constructivist theory and an Africanist Ubuntu philosophy. The researcher used an ethnographic research design to gather data from the community of Awach through observation, focused group discussion, and in-depth key informant interviews and the use of photo and videos to during those interactions. Participants were selected through purposive and snowball sampling techniques and data was analyzed by using thematic analysis of texts that led to emergence themes. Key research findings revealed that community members learn by engaging in adungu music at varying levels through playing, singing and through observation. Members’ attitude towards the culture played a key role in determining one’s rate of learning and aspect of the adungu culture that they learned. Adungu offered opportunities for self-expression and this was found to be crucial in the transmission and learning of this music. The study concluded that participation in community musical engagement is multidimensional and that participation has a profound effect on community’s ability to learn this music. The study recommended the need to create various opportunities for the culture to be performed so that members of the community can participate in those contexts, and cultivate positive attitude towards their culture as members of the community actively participate in those musical engagements, which will subsequently increase their ability to learn adungu music
School music program and peaceful co-existence of learners from refugee and host communities in Nakivale refugee settlement camp Isingiro district
(Kyambogo University (Unpublished work), 2024-10) Musyaba, Jopley
This study examines how school music program influences peaceful coexistence between refugee and host community of Nakivale Refugee settlement camp in Isingiro District. This study was motivated by rampant tension and conflicts within Nakivale refugee settlement community over common property resources. These tensions have been on for quite along time and have blocked social harmony. The objectives of the study include 1) To identify learners’ needs for peaceful co-existence in Nakivale Refugee settlement camp, 2) To examine the organization of School Music Programs in fostering peaceful coexistence in Nakivale refugee settlement camp. 3) To assess the teachers’ efficacy in using the school music programs for peaceful co-existence of refugees and the host communities in Nakivale Refugee settlement camp. 4) To examine the impact of School Music Programs on the learners and the community in fostering peaceful co-existence in Nakivale Refugee settlement camp. This study adopted a qualitative approach to describe lived music experiences in the selected government primary schools in Nakivale refugee settlement camp where the learners and the teachers were put at the fore front. Document review, observation, interview and focused group discussion methods were employed to generate data from parents, teachers and learners’ leaders. The study discovered that learners needs for coexistence included learning, social, and emotional needs. School Music Program (SMP) groups were formed based on nationality lines and native languages were used during (SMP) School Music Program instruction. Instructional resources used were obtained from the music rooms. Community was not engaged in music resource mobilization. School music program workplans and performances were guided by themes designed by War Child Canada. Music teachers were involved in instructional preparation. Music performances featured cohesion characteristics across the diversity of cultural backgrounds. However, the organization and implementation strategies yielded intra group rather than inter group coexistence. The funding organisations need to review the grouping mechanisms for active and positive oriented results. There is need to plan for all stake holders’ active engagements at all levels of music performance programs. The learners’ needs should help to inform the formulation of coexistence themes. When these are considered as vital, cross cultural harmonious living will be at the fore front.
Participation in musical performances and practical skill development among upgrading music teachers in selected teacher training institutions in Buganda region, Uganda
(Kyambogo University (Unpublished work), 2024-11) Basemera, Lydia
The study is titled; Participation in musical performances and skill development among upgrading teachers in selected Teacher Training Institutions in Buganda Region, Uganda. The purpose of the study was to examine the how participation in musical performances aids skill development among upgrading teachers. The study was qualitative and descriptive using purposive sampling techniques to select teacher educators (02) and teacher trainees (16) as participants. Interview, Focus group discussion and Recording were used. The study was carried out from July, 2023 to April, 2024. The objectives of the study were: To establish how much time is offered for music as a subject, how the time is used and what resources are available to aid the practical music engagements in Teacher Training Institutions, to find out the practical strategies that educators use in guiding practical sessions and to find out how educators and teachers strategize to identify and bridge the gap of challenges between theoretical and practical music learning and teaching. The findings revealed that there was no regular specific time scheduled for practical performances except that given once a year for examination or competition, resources were inadequate, the program was so congested in timetabling thus making it so hard for practical performances to be in these institutions. The study recommends creation of time, availability of required resources and designing a curriculum that caters for more practice than theory.
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
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.
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.
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.
Participation of young people with special needs in school based musical performances in selected primary schools in Mukono district, Uganda
(Kyambogo University[unpublished work], 2022-06) Ntambirwa, Rockline
This study intended to find out the nature of participation of young persons with special needs in music activities that take place in primary school contexts. It was motivated by the apparently low levels of participation by the young people with special needs in school-based musical performances. The objectives of the study were to establish the nature of musical engagements, establish the level of participation and factors responsible for the levels of participation and to find out the implications of the participation in school-based music programs to YPwSNs in selected primary schools of Mukono district. The study was qualitative in nature. Data in form of interviews, Participant observation, written documents, audio and visual recording was collected and analyzed in order to phenomena of participation by YPwSNs in school-based music performances. Thus, findings of the study were made. Findings revealed that young people with special needs are capacitated to participate in community music practices especially in school contexts. The young people have the ability to participate in school-based music activities regardless of the impairments. They can participate in singing, dancing, acting, playing instruments, poetry and other musical performances. It was recommended that in order to nurture the young people with special needs’ capacity to participate in school-based music activities, the government, teachers, care givers and the community should encourage, create a conducive atmosphere and support the participation of young people with special needs in school-based music activities.
Visual narratives of traditional royal dances in Uganda: a case of clay mated Amaggunju dance
(Kyambogo University(Unpublished work), 2020-09) Lubwama, Godfrey
The purpose of this study was to visually narrate the “Amaggunju” traditional royal dance of Buganda central Uganda through Claymation. An exploratory study design and adopted more of the qualitative than the quantitative approach in this study. The objectives of the study were to; examine the visual forms of the Amaggunju traditional royal dance of central Buganda, Develop a story line of the Amaggunju traditional royal dance of central Buganda and Claymate Amaggunju traditional royal dance of central Buganda. This study was grounded largely on the qualitative method approach. The Study Population and Samples were the Visual forms of the Amaggunju royal dance regalia in Buganda these included videos, photographs, Illustrations and drawings, Story lines were also used for claymated films and these were; The Chicken run, Early Man, Shauna the Ship Movie, Para Norman, Claymated films’ production process of The Chicken run, Early Man, Shauna the Ship Movie and Para Norm. Based on the nature of the study, the research questions it presented and the defined parameters of the required population reflected above, stratified random selection was employed and through this valuable information pertaining to this study was collected. Findings indicated that claymated Amaggunju traditional dance is one form that can be used to communicate and preserve the Baganda Royal practices. With a highlight of the advantages of using Claymation over the other forms of animation, the study recommended that animators to explore and use Claymation for communicating various aspects of human needs.
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.
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.
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.
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

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