our roots

venues, taught and presented papers
in 4 continents (and counting), been
exposed to networks of musicians from
all over the world, mentored students
and colleagues who work in music from
other parts of the world Ap art from
dissertations and theses about African
music, I have supervised work on Chinese
opera, sakha epics, Afro-Brazilian music,
American civil war music, James Brown,
Serbian Brass bands and Lil Wayne.
Did I mention that I would not be
here, visiting your prestigious university,
if I was not a music scholar. This is an
open door.
Further, I have been privileged to
be one of the faces of a well-known
Kenyan music scholar (I hope I can say
this without appearing too conceited),
to the point that I have been elected
and appointed to sit on local, national
and international boards of academic,
religious and civic organizations.
Is the academic study of music
a luxury for Africans who
would be better of studying
the sciences?
I think everyone should be involved in
music. It is excellent for self-expression,
group participation, interpersonal
communication, inspiration, relief,
healing etc. I think that Africans are
involved anyway as performers but also
as active participants who shape the
trajectory of the life of music privately
and publicly.
Due to this immense investment
in music as producers and consumers,
we need experts, be they performers,
theorists, musicologists, composers
to help assess our growth and
development, as models for standards or
new trends, but also to affirm ourselves
and our identity as Africans and as
human beings.
Most people think about music as an
art form, but in studying it, one discovers
just how much of a science music is.
Music intersects with maths, physics,
biology, chemistry, physical and social
sciences in such areas as acoustics,
algebra, engineering, building blocks,
chemical production, environmental and
plant sciences, technologies of various
kinds, and even diverse experiments.
Most Africans don’t realize how
much the continent contributes to the
world music scene. We tend to wait for
the West /North or the East to repackage
our products - whether it is the music
itself, or scholarship about it – in order
for us to consume it in sterile, stale or
processed forms. Implicit in this position
is that we are not able to prepare our
own products for global taste and
distribution, or that those who prepare
it on the continent must be approved by
the West for the music to have worth.
Such a position is untenable. We need to
own our shortcomings and decide to set
standards of music which the rest of the
world can reference.
What are Daystar’s musical
strengths, and how can they be
improved?
Daystar had many, many, people
interested in performing and listening
to music. The people, opportunities
and other resources should be need
harnessed, nurtured, encouraged, and
enjoyed. Daystar can actually set a
standard in music studies unique and
exemplary, not just in Kenya and Africa,
but in the world. Daystar already has
students from all over the world and
has one of the best communication
departments in the country. Given the
housing of music in the same School as
the Communication Department, a solid
alliance in coursework can be electric.
Daystar can go on to produce outstanding
students who will impact the world.
What would you say to parents
who are scared of letting their
children study music?
Better to study music and be absorbed
by it, especially if the child is keen to do
it, than to lose the child in another way,
or for the child to be unhappy doing
what the parents’ desire. The study need
not be fulltime. Even doctors, lawyers,
business people, civil servants, pastors,
administrators, presidents etc enjoy
listening to music.
DaystarConnect 2015 • 51