Muziki Pub Date : 2021-04-20 , DOI: 10.1080/18125980.2021.1890191 Mukasa S. Wafula
The tremendous growth of choral music in Kenya over the last 50 years has largely been realised in three major establishments, namely: the Church, institutions of learning, and political arenas. Whereas choral music presents a field that can draw from diverse inquiries, the article focuses on music education as a component of choral music. It is motivated by the concern that the majority of choral trainers/directors/educators in Kenya are not products of formal choral training programmes. For the few who have obtained formal musicology, ethnomusicology and music education qualifications, observation shows that choral training or directing either forms a minimal part of, or is not included in, the various certificate, diploma or degree courses offered. Although conducting and/or art music as course units are offered in selected universities no institution of learning in Kenya offers a full course that focuses clearly on training choral trainers/directors/educators. Thus, choral directors may be the product of music training programmes other than formal school curricula. Whether in institutions of learning or the Church, the article views a choir situation as an alternative classroom, where the choral conductor/trainer/director/educator not only artistically imparts knowledge to the singers (learners), but also to prospective choral directors, hence acting as a role model. Therefore, the article demonstrates the alternative methodologies employed in Kenyan choral music. To address these concerns, the study relied on an ethnographic research approach that involved interviewing choral artistes, as well as observing how they practise their music, besides group interactive strategies.