Music

Permanent URI for this collectionhttps://repository.ui.edu.ng/handle/123456789/7693

Browse

Filter results by typing the first few letters
Now showing 1 - 2 of 2
  • No Thumbnail Available
    Item
    anxiety and joy of natal expectation: an analysis of simi kosoko's duduke
    (ibadan journal of gender studies, (3 & 4), pp. 81-97, 2020-06-01) Owoaje, T; Adegbola, T; Sofola, K
    The period of pregnancy is usually a period of deep emotions which an artist may wish to express. The expressive theory of art states that art is a means of portraying unique individual feelings and emotions of an artist, and good art successfully communicates the feelings and emotions of the artist. This article undertakes an analysis of Dùdùke ̩́, a song released by popular Nigerian artist, Simi Kosoko, during the period of her first pregnancy, soon after marriage to equally popular Nigerian artiste Adekunle Gold. Content analysis was employed to examine the feelings and emotions that could have led to the composition of this song by the artist. The song, a manifestation of the artist in a pregnant woman, expresses an analogy between the kick of the bass drum of a trap set and the kick of a foetus as expressed in the title of the song Dùdùke ̩́. Composing the song during the period of her antenatal experience, therefore, showcases Simi as a prolific composer and recording artist who enjoys using her musical talent in expressing her personal feelings and experiences.
  • No Thumbnail Available
    Item
    Song Melody and Speech Tone Conflict in Translated Yoruba Christian Hymns
    (Yoruba Studies Review 7(1):1-18, 2018-07-11) Owoaje, T; Adegbola, T
    This article engages song melody and speech tone conflict in translated Yoruba Christian hymns between the late 19th and early 20th century. In their effort to make early Yoruba Christian converts sing Christian hymns in the church, European missionaries translated English hymns to Yoruba, and sang them to the original European hymn tunes. Yoruba being a tone language, requires a significant level of correlation between song melody and speech tone, for the words to retain their original meaning when sung. The tripartite constraint of aligning melody, meter, as well as meaning, posed a major problem to the hymn translators. Having given priority to melody and metre, the translators therefore, tend to compromise on meaning, thereby producing Yoruba hymns that will sound interesting melodically, and correlate metrically with the metre, but producing hardly meaningful words when sung. This study utilized samples from Iwe Orin Mimo, being the Yoruba translation of a range of hymns in Hymnal Companion, Hymns Ancient and Modern, and some other hymn books popularly used by the Church Missionary Society (CMS). The work presents a graphical illustration of the disparity between the hymn tunes and the speech tone of the Yoruba language. It also highlights the efforts of indigenous composers in correcting the perceived error through re-composition of the first stanza of selected hymns, to which they wrote more stanzas that align with the theme of the first stanza. The inappropriately translated Yoruba hymn books have remained strong institutions within the church and have therefore, continued to promote the use of the translated hymns in the Yoruba church.