This dissertation is about the architecture of the Swahili peoples living along the eastern coast of Africa. Specifically, it explores the links and relationships between oral traditions, rituals and the built environment of the Waswahili (sing. Mswahili) or the 'people of the coast'. The 'ambiguous' and 'anomalous' identity of the Waswahili raises important questions on the definition and the understanding of Swahili architecture. To understand Swahili architecture, one must, first, understand the language and identity of the Waswahili. This dissertation makes use of new sources for the interpretation of the built environment of the Waswahili as depicted in the standing 18th century buildings in Lamu town, the oldest living town on the eastern coast of Kenya. Designated on UNESCO's World Heritage List, Lamu has a unique architecture that has often been misinterpreted and misunderstood, and such studies often lack authenticity. This dissertation is an attempt to bridge the gap between the identity and the built environment of the Waswahili and to portray Swahili architecture through oral discourse.

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The study is based on the lexical choices in the social context of EkeGusii circumcision and the meaning of the various lexical items used in the social context of circumcision and gender differentiation in the choice of the lexicon of EkeGusii circumcision. This special variety is also used within EkeGusii standard variety but when used in the context of circumcision, the meaning of the lexical items is understood based on context. It is believed that language embodies traditional values and that these values are socially conditioned. This study considers the social conditioning of the circumcision social varieties. Linguistic traditional values of EkeGusii language are reflected in, among others, gender differentiation in the choice of the lexicon in the social context of circumcision. The study was based on two theories; the social theory and contrastive lexico-semantic theory. Social theory was useful in analyzing language in society and what language means to its users while contrastive lexico-semantic theory was useful in analyzing EkeGusii culture-specific meaning which does not translate readily to English. Participatory observation, interview schedules, informers, questionnaires and introspection were used to collect data. Data was analyzed qualitatively in view of the choice of the lexicon within language variation. Findings showed that the sound plays an important role in postulating meaning of EkeGusii Circumcision Social Varieties (ECSV) through vowel lengthening. The lexicon of ECSV comprises nouns and verbs and that this lexicon is a style as well as register of EkeGusii. Gender differentiation in the language is a case of socialization rather than biological. Finally, meaning relations established by the lexicon of ECSV include synonymy, hyponymy, polysemy as well as antonymy. It is recommended in this study that teachers should be trained on Sociolinguistics, carry out classroom research to identify the learners’ sociolinguistic culture and integrate an individual learner with others in the same level especially since the school has taken the role of socialization of an individual. / African Languages / M.A. (African languages)

Cross – cultural composition has been defined as the creation of a cultural synthesis of the old and new, traditional and foreign into philosophical, artistic, stylistic and aesthetic product that communicates to various audiences. The study adopted a mode of creativity / dynamic approach through the synthesis of traditional Samia marriage music and Western compositional techniques and approaches. To ground the study in the rich cultural traditions of the Samia people of Funyula Division in Western Province of Kenya, an anthropological documentation formed an important part of the study. The study adopted Absolute Formalism theory by Reimer (1989) based on component relationships in which different parts like harmony, melody, and text rhythm relate to one another to create unity. The study also incorporated Aesthetic Functionalism theory by Akuno (1997) on social functions in which; the contextual meaning of the composition was based. The study used the Accommodation theory on Convergence, Giles and Smith (Giles & St Clair, 1979) to unify the analogous aspects in the two stated theories. In the study, descriptive and creative designs were used to cater for the music and social context. In the descriptive phase, Samia marriage folk songs were collected from traditional performers, who were also, interviewed using a questionnaire. Purposeful and snowball sampling techniques were used to select twenty folk songs. They were recorded, transcribed and analysed for dominant traditional musical features and compositional promise. In the creative phase, lyrics were identified and reorganised, the prevalent features isolated and used. The result was a compositional inspiration on which the Marriage Suite was based. The ultimate product of the study was an artistic model framework that could guide the creation of art music using Kenyan traditional music idioms; accomplished through the Marriage Suite. To safeguard contextual and music fidelity, member checking was consistently maintained during data collection and creative phase. Rhythmic and melodic accuracy of the transcribed songs was ascertained by play backs using FINALE music notation. Social identity in the composition was taken into account through use of Samia music characteristics that included intervals, solo-responsorial aspects, overlapping entries, parallelism and common rhythmic patterns. / Art History, Visual Arts & Musicology / D. Litt et Phil. (Musicology)

Cross – cultural composition has been defined as the creation of a cultural synthesis of the old and new, traditional and foreign into philosophical, artistic, stylistic and aesthetic product that communicates to various audiences. The study adopted a mode of creativity / dynamic approach through the synthesis of traditional Samia marriage music and Western compositional techniques and approaches. To ground the study in the rich cultural traditions of the Samia people of Funyula Division in Western Province of Kenya, an anthropological documentation formed an important part of the study. The study adopted Absolute Formalism theory by Reimer (1989) based on component relationships in which different parts like harmony, melody, and text rhythm relate to one another to create unity. The study also incorporated Aesthetic Functionalism theory by Akuno (1997) on social functions in which; the contextual meaning of the composition was based. The study used the Accommodation theory on Convergence, Giles and Smith (Giles & St Clair, 1979) to unify the analogous aspects in the two stated theories. In the study, descriptive and creative designs were used to cater for the music and social context. In the descriptive phase, Samia marriage folk songs were collected from traditional performers, who were also, interviewed using a questionnaire. Purposeful and snowball sampling techniques were used to select twenty folk songs. They were recorded, transcribed and analysed for dominant traditional musical features and compositional promise. In the creative phase, lyrics were identified and reorganised, the prevalent features isolated and used. The result was a compositional inspiration on which the Marriage Suite was based. The ultimate product of the study was an artistic model framework that could guide the creation of art music using Kenyan traditional music idioms; accomplished through the Marriage Suite. To safeguard contextual and music fidelity, member checking was consistently maintained during data collection and creative phase. Rhythmic and melodic accuracy of the transcribed songs was ascertained by play backs using FINALE music notation. Social identity in the composition was taken into account through use of Samia music characteristics that included intervals, solo-responsorial aspects, overlapping entries, parallelism and common rhythmic patterns. / Art History, Visual Arts and Musicology / D. Litt et Phil. (Musicology)