Effects of appropriating Luhyia musical styles to the authenticity of Anglican hymns of Butere Diocese, western Kenya

Abstract

The Anglican Church of Kenya (ACK) liturgical hymns have been greatly influenced by African indigenous music traditions. Singing of the hymns with appropriated Luhyia musical styles has had a profound effect on its authenticity in terms of performance style, harmony, rhythm, texture, form and structure, yet no study has been done to assess the extent to which these musical elements are altered. By examining the liturgical singing of ACK hymns in Butere Diocese, this study sought to determine the effect of appropriating Luhyia musical styles on both structure and performance. The article is underpinned on Nzewi musical theory of change and continuity which states that, for change to occur and be determined, there has to be an established cultural frame of reference. The study entailed collection of qualitative data done through use of interview schedules, observation check-lists, field notebook and tape recorders. The collected data was then organized in topics of discussions, analyzed descriptively and presented thematically and by use of staff notation. The findings of the study revealed structural changes that causes divided congregational perception on the performance of appropriated ACK hymns with some congregants opposing the resultant dance movements invoked by instrumentation as lost Anglicanism, while others approving of this new style of hymnody. Therefore, in order to strike a balance between Anglicanism and forces of appropriation, the study recommends the ACK choir directors to regulate instrumentation in liturgical hymnody. It is the authors’ hope that findings of this study will encourage choir directors to compose ACK hymns within their diverse Kenyan indigenous idioms in order to localize their worship singing experiences more.