Composition techniques in Kiganda xylophone music: with an introduction into some Kiganda musical concepts

Abstract

The impression that distinct and sophisticated composition rules are at work in Kiganda music is sustained by a number of observations. The field researcher in Uganda may be struck by the fact that an expert amadinda player can usually reconstruct the second part (okwawula) of a tune, if he is given the first part (okunaga), provided he knows the melody of the vocal theme inherent in the instrumental pattern. Though traditional musicians in Uganda cultivate an excellent memory, it may happen to anyone that parts of a musical piece slip the mind temporarily.