The Mwera Lamellophone "Luliimba" Author(s): Uta Reuster-Jahn Source: African Music, Vol. 8, No. 1 (2007), pp.

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OFINTERNATIONAL LIBRARY JOURNAL OFAFRICAN MUSIC

THE MWERA LAMELLOPHONE LULIIMBA1 by

UTA REUSTER-JAHN

The lamellophone of theMakonde/Mwera south-eastern Tanzaniaand typefrom north-eastern member of thefamily of lamellophones in Mozambiqueis a particular Dias (1982, 1986, 1988) and Gerhard Africa. It has been described Kubik by Margot in a performance had notbeen studied Its parcontext. (1996, 1998),butuntil recently ticular features are as follows:1) the sevenrelatively broadmetalkeysare fixedin thebodyoftheinstrument, so that their cannot be altered; tuning 2) thetoppartofthe box instrument has a roof-like the resonator is hollowed out thebackand from shape;3) closed witha woodencoverwhichis nailedto it.Additionally, thesound-holes in the soundboard couldbe usedtoproduce wow-effects and as them, bycovering uncovering has beenshown byKubik(1998:195).2 This typeof lamellophone has drawn interest becauseof itsuniqueness. scholarly itcouldbe theremnant ofa smallcradleareaoflamellophones Kubikassumes that with from the Rovuma metal lamellophones valley, apart large metal-keyed keysinthelower foundin Zimbabweand the lowerZambezi valley(Kubik 1998:24 f). Furthermore, Kubik et al. pointto a similarity of shapebetween Indonesian of the metallophones of in sarontypeand theMakonde/Mwera terms of the curved box type lamellophone, resonator andtheroof-like see also Kubik (Kubiketal. 1985-87, topoftheinstruments 1998: 42, 196 f). The position of themetalkeyscan be seen as rotated by 900 comto the saron. be of Arthur M. This could Jones' on pared possibly supportive hypothesis Indonsesian African xylophones beingthemodelfor lamellophones (1973/74:96 f),as well as ofhis assumption ofcultural influences from Indonesia onAfrica (1964). Roger Blench(1982) showedthat thelatter does notstandup to detailed However, scrutiny. he admits in that thestriking between Asia Africa and needs tobe similarity xylophones and he points that themigration to thepossibility ofxylophones couldhave explained, been in theopposite Africa toAsia (Blench2002:4 f). It seemsthat i.e. from direction, thisdebateis notyetclosedandthat theMakonde/Mwera-type oflamellophone perhaps couldprovide a particular linkinthemusical ofEastAfrica. history features of thistypeof instrument little is known aboutit. Despitetheinteresting
tothank Kubik for Gerhard research with as well as commenting ona draft version I wish Prof. me, my discussing ofthis I would like tothank the oflamellophones for their andowners andmy friends Also, collaboration, paper. players inNachingwea for the contact with the musicians. making 2 However, the Mwera ofthe I observed whom usethe players didnot holes inthis luliimba playing way (seePlaying onpages12and13). technique

Introduction

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THE MWERALAMELLOPHONE LULIMBA

in hercollection and thosefrom variousEuropean theinstruments Dias has described World War collected before She coinedthe name which were II. museums, mostly as all instruments in areas werecollected "Makonde/Mwera ofthelamellophone", type Mwera. was documented about the Makonde or inhabited either However, nothing by on it. This was all the more norabout themusic use oftheinstrument played deplored by that theinstrument was already extinct 1998:195 as itwas assumed scholars (Kubik f). in the Mwera area of south-eastern conducted This articleis based on research in theLindiregion, in villagesof Nachingwea District in morespecifically, Tanzania, of minefrom a visitto two 1987 and 1999.3In 1987, friends Nachingwea arranged in of in one the the other well-known musicians, village Kipara, Lionja. Both luliimba I somepiecesfrom skilled bothandtooka wereelderly menandvery players. recorded from fewphotographs. At thetimeofmysecondvisitin 1999themusician Lionja had In in could not be contacted. the of the one case the musician died and Kipara recently I hadtheopportunity from overtheinstrument. to talkto him Lionja,his sonhad taken to find other on video.The efforts musicians wereonlypartly and record his playing ofa luliimba werefound andvisited, successful. Twomore owners one in lamellophone in were old men. One of them had the other Ntila. Both inherited the instruRuponda, couldplay, buthadnotusedhisluliimba ment butcouldnotplayit,whiletheother often infinding ofluliimba Theproblem tothefact thelastyears. that the players points during shared in an impression the the instrument is aboutto disappear, area. by people The Mweracall their lamellophone (class 11 in theBantunounclass sysluliimba and nniimba Sometimes malimba tem)in thesingular, (class 10) in theplural. (class 6) there is no oraltradition is heardin theplural. theorigin ofthe Apparently, concerning It is justsaid to havealwaysbeenthere. Thismayindicate instrument. that theluliimba has a verylongtradition amongtheMwera.It is theonlytypeof lamellophone they have. Everybody knowsaboutitbutthemusicians, who are mainly old men,are very ofAfrica theinstrument's fewnowadays. As in other use has beendeclining since parts At themoment there is no signthat themiddle ofthe20th this musicaltradition century. use oftheguitar couldbe revived. Thisis due to theincreasing by younger peopleand theinfluence of pop music.The latter comesin via radio,cassettes, and video. Some ofshowing menengageinthebusiness videosinvillages. their young Theybring equipfor the of The a most attractive are ment, including generator supply electricity. genres and music videos. sports is madefrom thehardandreddish-brown The bodyoftheluliimba mtumbati-wood It is carvedfrom one piece of wood. The toppartor "head" (Pterocarpus angolensis). of theluliimba is solidand so is thepartofthebodywhere thekeysare inserted. The
3 The mainfocusofmyresearch was on theorature oftheMwera(Reuster-Jahn 2002).

andrecent useoftheinstrument Name, history

oftheluliimba Organology

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LIBRARY OF AFRICAN JOURNAL OF INTERNATIONAL MUSIC

resonator the back. Thebackis then made boxis hollowed outfrom closed bya cover from the which is nailed to the same Some instruments have a second cover wood, body. Allthe atthe front sideofthe boxresonator. Theluliimba hasa number ofsound holes. I studied instruments have three holesatthe front sideandnoholes atthe backandthe other sides. Atthemiddle ofthe is a rowofthree to there (thesoundboard) upper part five andthree orfour arearranged holes below them. Theholes arebored further holes, a localdrill Thekeys from Their aremade iron byusing (mpeu, mi-). bya blacksmith. inFigure is shown 2b.Attheir broadest inan angle ofabout arebent shape part they 700andinserted downwards into the solid of the The musicians stressed that part body.4 the should not into the hollow otherwise not a good would keys project part, they yield sound. There arealways seven their width less than one keys, average being slightly centimetre andtheir between five and seven on centimetres, length varying depending their andthe sizeofthe instrument. Twometal sides ofthe instrument pitch lugsonthe serve tofasten a cord for it. backs of The three out of the four carrying lamellophones from District area bitcurved, butoneis flat. Thetoppart or"head" ofall Nachingwea theinstruments is more orlessupright.' Thesizeoftheinstrument varies. TheonesI inNachingwea 12 and17 cmwideandbetween examined arebetween 23 and27 cm Some boxresonators have a trapezoidal form ofthe with the broad endatthe front long.6 side.Oneinformant told methat hisfather hada very small which wasabout luliimba, half the but sizeofthe normal hedidnot know itwasso small. lamellophones, why Thefour instruments from I have District which studied arequite simiNachingwea totheir sizeandshape. lartoeachother with alsoresemble much the They regard very Dias from a Makonde carver in 1958 lamellophone acquired byMargot (Dias 1982:162). inBerlin Yetthe collection ofthe Museum some instruments of Ethnological comprises different Someofthese instruments which were collected before 1914have appearance. a flat head. Thenumber andarrangement ofthe sound holes ofsome instruments is also from different the recent Mwera These could be dueto very lamellophones. differences a change time ortoregional over Dias pointed tothe fact that the Makonde/ sub-types. Mwera areofhigh andbeauty andtherefore lamellophones quality require high carving skill.According to myinformants a lamellophone is manufactured in cooperation between thecarver anda blacksmith, whomakes thekeysandalso tunes them. The decorations aremadebythecarver, buttheowners sometimes addmore. Decorations consist of lines and crosses. one instrument was not decorated at all. I mainly Only was toldthat is in there one man the area who is able to manufacture a recently only
4

This isdifferent from some older instruments atthe inBerlin, whose metal arebroadest Voelkerkundemuseum keys attheir free end(Kubik 1998:197-203).

This isnot the casewith the Makonde/Mwera oflamellophone. Out ofeight inthe Berlin always type 5 lamellophones collection sixhave a flat head part. 6 Inthe Berlin collection most instruments arelonger 30 cm)but narrower 10cm). (about (about

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THEMWERA LAMELLOPHONE LULIIMBA

He isa blacksmith whoalsodoesthe ofthe instruments. carving Unfortunately, luliimba. I wasnot incontact him. with abletoget ofthe totheindividual ofthe There aremodifications taste instruments, according from hadput wax(ntebe,7 owner. Thedeceased onthe Lionja tuning mi-) luliimba-player This his son as a means to "soften" or "lower" backofhisinstrument. wasexplained by the voiceofthe kutuliza Themusician hadalsouseda buzzer (Swahili: sauti). luliimba It consisted of a with to increase thesound a rounded (Swahili: kupaza sauti). string The thelugs of a and a of iron. had been fastened to broken piece string claypot piece andwasput resonator boxwhile onwhere heput the ontop ofthe it, Depending playing. could its effect. The buzzer had been removed after the instrument was player vary kept son. deceased musician's bythe

wax at thebackofluliimba ofMzee Nakeru Figure1. Tuning (photo by author, Lionja,1999).

7

Theletter b represents the voiced bilabial fricative before w andafter itisrealised as b. m,where B,except

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JOURNALOF INTERNATIONALLIBRARY OF AFRICAN MUSIC

Mwera nomenclature ofthepartsoftheluliimba Partoftheinstrument

Top part Back Front side

Mweraterm
ntwe(Pl. mitwe) kwaluliimba kungoongo kucitaako kwaluliimba

Literal meaning
head on thebackoftheluliimba ofthe on thebuttocks luliimba

Cavity Sound holes

mbaanda malaanga (Sg.lilaanga)

cavity holes aresaidtolet hole;the out ofthe instruthe sound ment. Informants compared them tothe holes inradio loudspeakers.
teeth cord carrying

Keys cord Carrying

meeno(Sg. liino) lukobeelo (PI. ngobeelo)

The parts The instrument is of theluliimba are namedin anthropomorphic terms. of a clear as a a back and buttocks, revealing concept top perceived having head,teeth, andbottom.
lukobeelo

ntwe

liino

kungoongo kwa luliimba

kucitaakokwa luliimnba

2a.Schematic ofa luliimba Figure drawing

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THEMWERA LAMELLOPHONE LULIIMBA

11

insertion line bendingline

2b. Shapeofa key Figure

A luliimba hasseven metal inthe which arearranged form ofa V.Thelowest keys middle this ina zig-zag keyis inthe (seeFigure 3). From keythescaleproceeds way: 4 > 3 > 5 > 2 > 6 > 1 > 7. Thetuning of I studied the four in layouts lamellophones were different two ata time were tuned (see Figure Nachingwea 4), although similarly 4.1. and 4.3 and and 4.4 For all of them the intervals between 4.2, (Figures respectively). the 4 and1 andthe 3 and7 consist ofan octave oratleast an octave.' keys keys nearly Theexistence ofsimilar to local tuning layouts might point layout-pattern.
1 2 3 4 5 6 7

The tuning layoutoftheluliimba

3. Arrangement ofkeys(luliimba ofMzee Maji ya Moto. Figure see 4.4 on (Fortuning layout Figure page 12) Thenotation ofthe layouts inpicture 4 shall animpression ofthe intervals between the and allow comgive sounds, between ofthe the four parison tuning lamellophones.
8

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LIBRARY JOURNAL OF INTERNATIONAL OFAFRICAN MUSIC

ofMzee Nakeru 4.1. Tuning (Lionja) Figure layout: Luliimba

4.2. Tuning ofMzee Makwinya layout: (Ruponda) Figure Luliimba

4.3. Tuning ofMzee Ismail(Kipara) Luliimba Figure layout:

4.4. Tuning ofMzee Maji ya Moto(Ntila) Figure layout: Luliimba

Playingtechnique All players strike thekeyswith their thumbs. The right thumb playsthefour keys on theright andtheleft thumb thethree on the There left. is no offingers. keys crossing The indexfingers areputunder thelateral thesefrom beneath keysandstrike (Figure 5). In the playingtechnique some individual variations can be observed whichmay be

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THEMWERA LAMELLOPHONE LULIIMBA

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ofplaying. decline ofthe art Mzee9 ofthe from as effects Ismail Kipara put interpreted as if to the the left hisleft index keys stop vibration (Figure 6). Oneplayer finger upon the thumb iscalling and the left isresponding, but others insisted that there saidthat right the holes were I didnot observe that covered toproduce voice. isnoleading wow-effects, ofthe likembe oflamellophone usedinthe a technique type (cf Kubik 1998:63). playing of the sound-holes. to denied this use them the holes arejust informants According My kutoa for thevoiceoftheluliimba outlets sauti"they (Sw.yanasaidia helpto letthe the also seems to have Thewayofholding Mzee voiceout"). changed recently. luliimba from with the below while the hisluliimba other were Ismail held only ring-finger fingers I could box(Figure the in resonator above the observe players 6). However, actually put three below each The with side. be the can 1999allheld luliimba fingers played luliimba orsquatting ona chair onthe orwalking, while sitting ground. standing

ofthelateMzee Nakeru Figure5. Luliimba from playedbyhis son,Mr.KilianLijembu, District. Note Chimbendenga, Nachingwea table.The head buzzeron topofresonator ithadthetypical has beenbroken, originally roof-like Lionja, 1999). shape(photo byauthor,

6. Mzee Ismailplaying hisluliimba inKipara Figure

author, (photo by Kipara, 1987).

inSwahili. ofaddressing isa respectful oldmen Mzee(oldman) way

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OF INTERNATIONAL OFAFRICAN MUSIC JOURNAL LIBRARY

Intheir their instrument while distances. played they usually play walking long pastime or itjusttoentertain Thespecial orgreat event wasthe themselves. luliimba nngomaja but is well remembered almost never which ukana gwaluliimba, nowadays, performed the next that lasted the whole until Itwasa public byolder night people. performance connected to It that this event had a secular and was not seems character, morning. any itmust demanded ritual orspiritual havebeena joint venture which context. However, a beer a liteteele, someorganisation andcoordination. beerandbuilt Peoplebrewed was a It is well that there stand. Oneorseveral were invited. players possible luliimba inthe Gunderson & Barz2000).Theplayelement present performance (cf. competitive the andsang. ersfastened to their ankles. rattles danced, They They played luliimba, of andthengwacala, which consists were drum bythesmall cingaanga accompanied If hit the could not two a which is with two sticks. bamboo or luliimba player logs pestle, The elsewho wasknown as a goodsinger. wasperformed well, sing singing bysomeone inthe other the chorus and joined dancing. participants sang performance

or ukanagwa luliimba 2) as pastime, 3) at a specialeventcalled nngoma ja luliimba of usedto of the or "the beer the Luliimba ("thenngoma'0 luliimba" luliimba"). players

andoccasions ofperformance Contexts is played: There arethree kinds ofoccasions when theluliimba walking, 1) while

ensemble: 7. Mzee Nakeru'sson'snngomajaluliimba ngwacala.Singer cingaanga, Figure luliimba, atright on left, on ground byauthor, Lionja,1999). (photo standing ngwacalabamboosticks Itrefers ingeneral, inMwera as inSwahili tomusical events Theterm hasa broad nngoma meaning. including anddancing. singing
10

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THE MWERALAMELLOPHONE LULIIMBA

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MzeeNakeru wasa famous musician who wasinvited totheir festivities bypeople andwhoorganised others athisowncompound. visit in my During Lionjain 1999a wasorganised for meinthecompound small ofa friend ofmine, nngoma ja luliimba his the Since Mzee Nakeru had who his had inherited died, son, during day. luliimba, camefrom toplay hedidnotsing, hisvillage thelamellophone. Because an oldfriend A cingaanga ofhisfather anddanced. thesongs anda ngwacala sang (drum) (bamboo the music The of late Mzee the Nakeru were sticks) 7). accompanied (Figure songs andsung. This wasrecorded onvideo. played performance Themusicians Thetwomusicians, MzeeNakeru andMzeeIsmail, I visited in 1987, whom were famous 60 years for their music. Both were over old.A third Mzee player, Makwinya, I visited in1999waseven whom older anddidnot usehisluliimba atpublic events any more. MzeeIsmail from was a calmman with a somewhat melancholic air.The Kipara heplayed were soft andhesang two ofthem. He played andsang solo,and pieces only one was This was to due the only piece accompanied bypercussion. probably recording tobea man toentertain but hedidnot seem audiences. Thethemes ofhis situation, large ofa comment ontax consisted a prayer toGod, andsongs onthe relationpieces paying, between husband and as follows: wife, ship I'm the chased when find menot tax. 1) by police they having paidthe usmaize, Godgive us sorghum. 2) Godgive I'm going ona journey. 3) Mywife, I from I askmy home wife tocookugali"for me. 4) When come my journey, Mzee Nakeru from I was toldtwodifferent musician. verLionjawas a famous sions about hiscareer. His sontold thefollowing The of Mzee Nakeru luliimba story: inLionja. tohisfather, whowasmarried Theyoung Nakeru usedtoplayhis belonged father's instrument butonedayhewasdiscovered Shetold her secretly byhismother. husband about the He didnot matter. scold hisson but took him another time bysurprise when hewasplaying. Since hewaspleased with the heallowed music hissontousethe tothis instrument. informant theluliimba was madein the1950s. Another According inthe version told like this: Mzee Nakeru's father not was a ofthe village goes player The the Nakeru liked music andobserved the musicians when playing. luliimba. young On those occasions he evenlearned to playhimself. Then he hadtomanufacture his ownluliimba. hebecame Because liked to invite him when famous, people performing a nngoma. He wasnota player ofthexylophone I visited When himin (mangubila).

October1987,Mzee Nakeru and sang.Unliketheother he playedtheluliimba players used a buzzer, whichhe puton topoftheresonator table,and he was accompanied by
" A stiff madefrom orcassava-flour. maize-, porridge sorghum-

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JOURNAL OF MUSIC OFINTERNATIONAL LIBRARY AFRICAN

there wasa chorus, which tohissongs. It Furthermore, ngwacala-percussion. responded wasa very The themes of his were: lively performance. songs beneath the sleep roof?). ntimbo ofgreed). Thesong tells the ofa hunting 2) Ndemboja (Theelephant story Thehunters whoshot the didnot the other expedition. elephant give participants a share because were they greedy. A from the initiation school. 3) song A song aPaimene name about [her 5) Ngwete akangu (I havea wife, is]Paimene). a jealouswife. A song about a leader offormer called Nkuchika. times, 6) AnaNkuchika. matandi eatsthe fruits ofthe 7) Ajetu bakulya (Ourfriend sausage tree).
1) Jumwana papali pagona nng'ungu (Whyshould mychild jwajigala namwene

cabwi.A songaboutsorcerers. 4) Cikandenga

Figure8. Mzee Makwinya playing luliimba (photo byAuthor, Ruponda, 1999).

In 1999, inthe MzeeMakwinya ofRuponda. He wasquite I visited old,as village was hisluliimba. Itsheadhadbeenbroken andrepaired andtermites hadbored their holesinit.MzeeMakwinya's where a bitcrippled buthe still fingertips played nicely He not At did the end of the visit he even some on (Figure 8). sing. pieces the played

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THEMWERA LAMELLOPHONE LULIIMBA

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and man(see section on therelation of lamellophone withanother together xylophone on page 18). xylophone inherits sons who normally The luliimba is playedby menand it is one of their descent andmany sincetheMwerahavematrilineal Thisis noteworthy theinstrument. whomI interviewed stated in thematernal are inherited items line.'2The owners they fathers. had received itfrom their fathers theluliimba from their received who,inturn, The owners haveto it from his grandfather. he had inherited Mzee Makwinya said that their SincetheMwera instrument for own sonsand grandsons. their keepandpreserve this that theinstruments marital residence means the rule of uxorilocal have traditionally do so whenthey areinherited, andthesongsprobably movefrom one villageto another inthevillageofChimbendenga, butinhisold agereturned as well.Mzee Nakeru married was handed overto hisson from to hishomevillageLionja.Whenhe died,hisluliimba from he inturn willgiveitto one ofhissons,wholearned whosaidthat Chimbendenga oldest Mzee how to it. The their Mzee musician, Makwinya play grandfather, Nakeru, from his grandfather whoin turn had received his luliimba from hadreceived Ruponda theothers, sinceitwas quite itfrom hisfather. Thisinstrument seemedto be olderthan in Mnacho,who from his father Mzee Maji ya Moto from Ntilagothis luliimba worn. hisfather. He himself had gotitfrom (Mzee Maji ya Moto)couldnotplayit. his theformer owner The heiroftheinstrument is obligedto remember byplaying ifhe was skilled A story shall and famous. instrument his songs,especially and singing in his shelter-hut was left this.WhenMzee Nakerudied in 1999 his luliimba illustrate hisdeath in thefields tooknotice ofit.Butsoonafter hiseldestson fellill. andnobody oftheluliimba. He tookthis as a message from his Thenonenight thesecondsondreamt his The that was not the of instrument. deceasedfather's pleasedby negligence spirit, he should theluliimba brother that theonewhohadthedream fetch andkeep eldest agreed ofhis father, andtheeldestbrother it.He did so andplayeditin memoriam recovered. of matanga'3 theluliimba was officially handed Whentheceremony was performed, He was toldthat he shallbe thecustodian of overto thebrother whohadhadthedream. If it is not his the theinstrument. He must but from playit, private property. somebody wants that he playstheinstrument toplayit,he must family giveitto him.He affirmed ifhe forgets to do so, he willget"a slap in theface" at leastonce a week.He said that a skilled from thespirit that musician or dancer ofthedeceased.It is common practise mustbe remembered his art.Thatis a further reasonwhytheowners by performing shouldnotbeen pushedby collectors or researchers to sell their instruments. Women itsinheritance. do notplaytheluliimba and are excludedfrom Mzee Nakeru normally
Each Mwerabelongsto his or hercipinga(matrilineage), butthere are also subsidiary patrilineages ofthesamecilagwaareexcluded from (cilagwa).Members marriage. 13 A commemoration Ittakes after 40 days the death ofthe deceased. ceremony. place
12

Inheritance

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LIBRARY OFAFRICAN MUSIC JOURNAL OFINTERNATIONAL

inplayrealinterest hischildren whotook hada daughter whowasthe oneamong only inherit But she did not the it from her father. the instrument and learned ing consequently the instrument toplay andcould not come instrument. far shelives Unfortunately, away during mystay. andmangubila and xylophone) Luliimba (lamellophone the Whereas Inthe the Mwera exists areathe playxylophone. lamellophone beside ofthe theplaying reserved for matter is an individual men, ingofthelamellophone ofthe Thename ofthe arenot excluded. the Women xylopractise xylophone. playing "marimba in Mwera call the is in Swahili the Mwera lamellophone phone mangubila, of "marimba ofthe andthe (marimba ya vibao" hand) ya mkono" (marimba xylophone wooden keys).
who areonlycertain is one ofmatrilineages lineages xylophone (cipinga, ipinga).There

9. Ms.Abdalla anda young inNditi, man 1987(photo Figure byauthor). 7-keyed mangubila playing

as thebody two oftheluliimba Thesekeys areplaced upon (Pterocarpus angolensis). banana-stems andfixed at onesidebysmallsticks in the On holes keys. the through other sidethe are from similar Sometimes a bundle sticks. keys separated eachother by ofgrass is putbetween thestems andthekeys. oneon It is played bytwomusicians, eachside.Oneplayer is leading "to the other is (kuimba, sing"), "answering" (kujiticia).

The mangubila the same wood consists of seven,eightor ninekeysmade from

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THEMWERA LAMELLOPHONE LULIIMBA

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before theleading voicebyplaying one sequenceofitspart The answering voice starts namely (kuomola).Thereis at least one piece whichis playedon bothinstruments, can bird the little Mzee from akunakana buli?" (How getfat?). Makwinya "Cancuupi I his had recorded the on it on same the xylopiece played Rupondaplayed luliimba. in Nditi(Nachingwea about30 kmaway from District), Ruponda, phone(mangubila) also was able to playiton thexylophone, in 1987 (Figure 9). Mzee Makwinya together another with player (Figure10).

inRuponda, 1999 buli?"on 8-keyed "Cancuupiakunakana Figure10. Mzee Makwinya playing mangubila (photo byauthor).

The lamellophone of theMakonde/Mwera are fixed typehas sevenironkeysthat and therefore their be cannot The is instrument men and is tuning changed. playedby in thepaternal inherited line.A kindofrelationship seemsto existwith thexylophone, sinceat leastonepieceofmusicwas playedon both instruments. theluliimba However, and music about to its are since there are few old menleft lamellophone disappear, only who areable to playit.Therefore, themanufacturing oftheinstruquestions regarding mentas well as thetransmission of playing and musical techniques, pieces and songs be never answered. might

Conclusion

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References

MUSIC OF AFRICAN JOURNAL OF INTERNATIONAL LIBRARY

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