An experimental approach to developing music literacy in central Zaire
Issues yet to be resolved
In closing, I would like to mention a few of the musical and cultural issues that we are still trying to work out:
- The most obvious is, "Will it catch on?" Will local musicians be sufficiently interested to put forth the time and effort required to develop a new kind of reading skill? Even if they are, do they now have enough materials to be able to do so? In our work with introducing language literacy among preliterate people groups, there are instances of people learning to read entirely on their own, using published materials without instruction. They obtain cassettes and booklets which contain the same material, and simply by comparing what they see with what they hear, they are able to learn to read without any additional instruction. This, however, depends not only on very high personal motivation, but on there being a significant body of identical material in both recorded and written form for practice. One songbook and tape may not be sufficient. However, we have received word of musicians continuing to try to transcribe their new compositions using the knowledge they have.
- Another issue is that of appropriate technology. Good quality recordings require equipment that is costly to purchase and maintain. Play-back equipment also requires maintenance and batteries, and audio tape does not last long in tropical heat and humidity. But the cassettes that are available are very popular. On the other hand, good quality printed materials can also be difficult to produce, and it does take a considerable investment in time and energy to learn to read them. Yet, once the skill is mastered, it requires only pen and paper, and no batteries. How can we make the best use of both audio and written materials, and how high a level of production quality is necessary or practical?
- Another issue is that of acculturation. In a multicultural situation, which music does one choose to notate? We began with the music of the Presbyterian churches because they were sponsoring our presence in the country. We hope, however, that our system can be used for both sacred and secular music, and that its use would not be limited to church music only. Both are, at present, orally transmitted systems. We are also hoping that the notation system will work equally well for the Tshiluba-speaking people of the East Kasai province, the Luba-Kasai. However, we have found that there are significant differences in the traditional music of East [Kasai] and West Kasai, despite their sharing a common history and language.
- In addition, the vocal music system itself seems to be undergoing change. As the musicians are exposed to more and more Western-based music, they are developing a sense of a chromatic scale that is going further and further beyond the traditional heptatonic scale, and closer to the Western twelve-note scale. They are, so to speak, filling in the half-steps, one by one. Will they eventually re-tune their ears so that they are essentially singing and composing in the Western system completely? What modifications, if any, will be required in the notation, and how will they be incorporated?
- And finally, how will the music itself change as it becomes a more writing-based practice? Assuming that that happens, how many years or generations would pass before significant stylistic or structural changes would be evident? How can indigenous learning styles be incorporated into the process, and how might these change as a result?
As this kind of project is attempted in other parts of the world, we will learn more about these issues. We will hopefully also be able to be of immediate and practical service to those who grant us the privilege of studying their music.