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L This explains partly why :m African instrumentalist can so often wich apparent ease add a vocal line with a different rhythm to the instrumental basis woven by his. fmgers~ which in the heard image seems to be extremely complex. The fact that African soloists "play". :lS it seems, four .to five ditfcrent rhythms simultaneously with only two hands and then arc even able to add a singing line which is again "otT•beat" in its main accents is something that has been considcJ:ed beyond comprehension.

Since 1945 the musical scene in East Africa has been characterised by a series of important developments which ran parallel to an extensive political–cultural change of consciousness. All the musical forms which arose in this connection were ‘popular’ in the sense that they were appreciated by broad sections of society.

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