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: University ofAlberta Paul Basler’s Missa Kenya An Analysis by Duncan Miano Wambugu An essay submitted in partial fulfillment ofthe requirements for the degree ofMaster ofMusic in Choral Conducting Department ofMusic Edmonton, Alberta Spring, 2003 University ofAlberta Library Release Form Name ofAuthor: Duncan Miano Wambugu Title ofEssay: Paul Easier’s Missa Kenya: An Analysis Degree: Master ofMusic in Choral Conducting Year this Degree Granted: 2003 Permission is hereby granted to the University ofAlberta Library to reproduce single copies ofthis essay and to lend or sell such copies for private, scholarly or scientific research purposes only. The authorreserves all other publication and other rights in association with the copyright in the essay, and except as herein before provided, neitherthe essay norany substantial portion thereof may be printed orotherwise reproduced in any material form whatever without the author’s prior written permission. Duncan Miano Wambugu P.O. Box 19787 Nairobi, Kenya March 15,2003 m mm* of Musifl University ofAlberta Faculty ofGraduate Studies and Research The undersigned certify that they have read, and recommend to the Faculty of Graduate Studies and Research foracceptance, an essay entitled “Paul Basler’s Missa Kenya: An Analysis” submitted by Duncan Miano Wambugu in partial fulfillment ofthe requirements for the degree of Master of Music in Choral Conducting. Robert de Frece, First Reader ABSTRACT This papertakes an analytical look at Missa Kenya a choral composition by Paul Basler , for soloTenor, SATB chorus with piano, horn and percussion accompaniment. The paper’s main objective is to investigate the similarities and/or differences between the compositional forms used in Missa Kenya as compared to the traditional forms and characteristics ofAfrican, and in particular, Kenyan folk music. The paperbegins by identifying and defining the main forms and structures ofAfrican music. It then looks at the various movements that make up this mass Kyrie Gloria Credo Sanctus and Angus ( , , , Dei) analyzing each in detail while identifying characteristics employed in the mass which are based on the aforementioned forms and structures of Kenyan folk music. Digitized by the Internet Archive in 2017 with funding from University of Alberta Libraries https://archive.org/details/wambugu2003 ACKNOWLEDGMENTS While working on this paper, several people have practically ‘bent over backwards’ to assist me work on this paper in various capacities. First. I would like to thank the composer ofthe work, Dr. Paul Easier, for agreeing to be interviewed about the work via email andfor providing me with a score as well as a recording ofthe entire mass. Special thanks also go to Ms. Rachel W. Muchiri, whose IT skills were an invaluable aid in putting the papertogether. I would also like to thank my two families: my immediate family—Mum and my three sisters—and the family ofthe St. Andrews’ Church Choir, Nairobi, fortheir encouragement, support and prayers while I worked on this paper. I would like to thank the Department of Music staff, and in particular Dr. Duke Pier, Dr. Leonard Ratzlaffand Donna Masked fortheirtremendous help in accepting the paper and facilitating behind the scenes processes for me while I am in Nairobi. Lastly but not the least, I would like to sincerely thank from the bottom ofmy heart, my Supervisor Dr. Robert J. deFrece (a.k.a Bob), whose help went overand above the call of duty with advice, editing, patience, motivation, encouragement . . . and the list goes on. Thank you very much Bob. i