https://utafitionline.com/index.php/amo <div class="wpb_text_column wpb_content_element "> <div class="wpb_wrapper"> <p><strong> African Musicology Online (AMO)</strong> is a Journal for interested music scholars from Africa and beyond. There have been many misconceptions, misrepresentations, and overgeneralizations about African music. Besides myriad problems in the study of African Musicology, there is a need to hear and consider the voices of owners of the music. African Musicology Online is published bi-annually in June and December. </p> </div> </div> Utafiti Online en-US African Musicology Online 1994-7712 <p><a href="https://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" alt="Creative Commons License" /></a></p> <p>This work is licensed under a <a href="https://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License</a>.</p> <p>Authors must distribute contributions under the same license as the original.</p> https://utafitionline.com/index.php/amo/article/view/734 <p>This study explores the feasibility of incorporating Ghanaian languages into music theory and composition curricula that are mostly focused on Western traditions. It recognises the benefits and challenges associated with this endeavour. The study utilises a mixed-methods approach, acknowledging the necessity of incorporating both qualitative and quantitative data to comprehensively evaluate the various ramifications of this educational change. This approach enables a comprehensive comprehension of the cultural and cognitive effects, as well as the practical aspects of implementation. Integrating Ghanaian languages into the curriculum can improve cultural significance and student involvement, but research indicates that it should be done with care. The potential adverse impacts on standardised musical terminology and international communication necessitate thoughtful deliberation, promoting gradual incorporation rather than a total departure from English. Additional research is essential to investigate obstacles and devise efficient techniques for integrating Ghanaian languages into existing musical structures without compromising them. This study emphasises the necessity of adopting a well-rounded strategy that promotes the gradual incorporation of Ghanaian languages into music education, while still preserving the advantages of the existing English-based system.</p> Alfred Patrick Addaquay Copyright (c) 2024 https://creativecommons.org/licenses/by-nc-sa/4.0 2024-09-15 2024-09-15 13 2 1 11 10.58721/amo.v13i2.734 https://utafitionline.com/index.php/amo/article/view/824 <p>This study investigates the reasons behind music production graduates in Kenya moving away from production roles, with a focus on gaps in education and challenges in cultural competency. Through a qualitative research design employing semi-structured interviews and focus group discussions with recent graduates in Nairobi County, the study utilizes Kolb's Experiential Learning Theory to analyse how graduates transform their educational experiences into professional capabilities. The findings reveal a significant theory-practice gap characterized by the dominance of Western musical paradigms in formal education, which creates substantial barriers for graduates engaging with local music production contexts. Additionally, the research identifies critical cultural competency challenges stemming from limited exposure to indigenous musical traditions during formal training. These challenges manifest in graduates' inability to produce commercially viable music that resonates with local audiences, often leading to career transitions into music education roles. The study demonstrates how the current educational framework creates what is termed an "impeded transformative experience," where graduates struggle to convert their academic knowledge into viable industry practice. The research concludes that successful reform of music production education in Kenya requires a holistic approach that addresses both technical competency and cultural literacy, suggesting the need for curriculum reforms that balance Western production techniques with local musical traditions while maintaining global industry standards. This transformation is essential for improving graduate outcomes and ensuring the sustainable development of Kenya's music industry.</p> Brian Bichanga Nyandieka Copyright (c) 2024 https://creativecommons.org/licenses/by-nc-sa/4.0 2024-11-09 2024-11-09 13 2 12 21 10.58721/amo.v13i2.824