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East AfricanMusic has steadily evolved over the years, from the dull yet melancholic and interesting
traditional style of music to a diverse rich tapestry of different genres most of which are direct tributaries of the traditional, cultural music style.[1][2][3]
East AfricanMusic's inspiration and style is got from the different cultures, historic and social events, fantasies and myths, geographical landscapes and the creative art of East African people.[4][5]
Currently, there are a number of
music genres in
East Africa. Some are intelligently weaved from the various
East AfricanMusic styles while others are contemporary
sub-genres derived from other global
music genres. These genres are perfectly blended by a number of music specialists and the idea keeps expanding as years go by.[6][7]
Modern Music Producers work hand in hand with
musicians, music experts and creative music enthusiasts to come up with a style of music. This style is then adapted by music artists and finds its way through the media and music industry until its popularly recognized and publicly accepted as an authentic
mainstream musicgenre/style.
Oud: A guitar-like stringed music instrument which provides warm resonant sound when played. This instrument is great when layered along with other musical instruments.[11]
Aduungu: A harp-like stringed traditional musical instrument. This instrument is widely used in
Northern Uganda by the
Acholi tribe and North-Western Uganda by the
Alur. It is a great musical instrument which can be used as a solo instrument or accompanied by other musical instruments.[13]
East Africanmusic embraces a variety of
musical instruments. With modern
music production, With modern music production, East African music has adapted even more modern musical instruments such as the
guitar,
piano and many more. These music instruments altogether contribute to the distinctiveness of East African
musical arrangements and style.[14]
Music performances in traditional East Africa involved not only
singing or
drumming but also
dancing. These dance movements synced with the rhythm of the drums and percussions being played. During such performances, even
story-telling and other traditional activities were involved.[19][20]
6. Modern Music Production
Modern
music production techniques, equipment and tools play a significant role in the evolvement and urbanization of
East Africanmusic. East African music has over the years noticeably changed from the raw traditional feel to a more modern sound.[6]
East African
music producers have also played a big part in seeing that such a milestone in the East African music scene has been achieved.[21]
Modern music production tools, equipment and techniques have also led to the birth of many
urban genres in East Africa for example "Pulsy-Afro/Psyfro" which has embodied even more modern instruments such as the leads, synths, pads and many others.[22]
Kadongo Kamu was influenced by various musicians in Uganda at the time for example
Philly Lutaaya who released two internationally successful albums(Born In Africa & Merry Christmas) both of which are popular to date.[33]
Many other genres have arose in
Uganda over the years for example
Kidandali which is also called
Afro Ragga. This genre is pursued by many young iconic
musicians in Uganda for example Zizza Bafana. Many national and international hits have been made in this genre.[34]
Tanzania is one of the most musically established countries in East Africa.
Tanzanian musicians mostly sing in Kiswahili.
Kiswahili is the most widely used language in East Africa.[35][36]
There are five mainly prominent music genres in Tanzania;
The
music of Kenya diversifies from
folk music based on the different languages and
cultures within the country. The most dominant music instrument used in Kenyan music is the
guitar which is played and arranged with a lot of complexity.[37]
^Mũtonya, Maina wa; Kiiru, Kahithe (2018), wa Mũtonya, Maina (ed.),
"Introduction", Music and Dance in Eastern Africa : Current Research in Humanities and Social Sciences, Africae Studies, Nairobi: Africae, pp. 8–14,
ISBN978-2-9573058-4-1, retrieved 2024-04-29