Music

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

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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.
Art music composition as instrument for promotion of african cultural heritage: Ibadan school of music composition experiment
(music in and out of culture: musical arts education perspective. A festschrift for Isaac Ovaborhene Idmoyinbo, pp. 437-456., 2021-01-08) Owoaje, T; Sofola, K
Developing an oral hygiene education song for children and teenagers in Nigeria
(international dental journal 72, pp. 866 – 871., 2020-04-22) Ibiyemi, O; Lawal, F; Osuh, M; Owoaje, T; Idiga, E; Fagbule,O; Ijarogbe, O
Background: Oral diseases mainly caused by poor oral hygiene are a major public health problem affecting over half of the world’s population. Oral hygiene education targeted at children and teenagers in schools is an important approach in addressing this problem. Folk songs in the language and cultural context children and teenagers are familiar with appears to be a promising tool and alternative to traditional oral hygiene education. Objectives: This paper aims to report how a local traditional song on oral hygiene education amongst children and teenagers in southwestern Nigeria was developed with a view to providing information on how the song can be developed in other languages as well as how other oral health education songs can be developed. Method: Oral health professionals from the University College Hospital, Ibadan, and music experts from the University of Ibadan, in collaboration with traditional/local musicians, parents/guardians, schoolteachers, and community heads, took part in the development of the song over a period of 6 months. Developing the tool involved certain processes which were validated and evaluated. These processes included developing the lyrics, choosing the type of song, creating the melody, and producing and finishing the song as an oral hygiene education tool. Written and audio documentations of the processes were done. Results: A 90-second oral hygiene education song was developed in English and later translated into Yoruba. The numerous steps, collaborations, and meetings required in the development of the song were associated with many learning opportunities including teambuilding, understanding cultural contexts, effective collaboration, leadership, and communication skills. Conclusions: Creating new and effective oral hygiene education tool requires various processes and multiple steps and resources. However, it is a necessary and worthy exercise in ensuring sustainable and adequate oral hygiene, especially amongst children and teenagers in underserved populations, as we move into the future.
Melodic and textual resource materials in A. T. Olaolude’s Mayokun
(2020-07-01) Owoaje, T
This paper examines the compositional resource materials of Yoruba native airs (YNAs) composed by Rev. A. T. Ola Olude in his Yoruba hymn book Mayokun. Several Yoruba native air composers have contributed greatly to the development of the YNAs in Christian liturgy, which was as a result of the need for hymns that best represent the Yoruba identity since there was a clash between the speech tone of the Yoruba texts and the European hymn melodies of the translated European hymns. This paper established four compositional resource materials used in Mayokun the Yoruba hymn book. Rev. Ola Olude adapted Yoruba folktales and ceremonial melodies to which he added newly composed text in idiomatic Yoruba language reflecting Christian doctrine. In addition, he adapted and made parody of Yoruba drum language in form of speech surrogacy. He also composed melodies in Yoruba idioms to the first verse of translated European hymns and in addition, he composed entirely original hymns in both text and tune
Rhythm and musical instruments of early Yoruba native airs in christian liturgy
(2018-09-01) Owoaje, T
Rhythm is a central element in African music. The concept of rhythm in European music differs from that of African music. To the Africans, rhythm is engaging and interactive. Therefore, rhythm elicits dance. Drums and percussion instruments play a key role in establishing a rhythm in Yoruba musical ensembles. However, Yoruba drums were associated with idol worship and a relationship with paganistic practices by the European missionaries. Hence, the prohibition of drumming and dancing for several decades in the early Yoruba church constituted a musical challenge to the early Yoruba Christian converts. Within the atmosphere of cultural nationalism of the late 19th and early 20th century, certain churchmen decided to seek alternative indigenous musical idiom to replace the unsatisfactory European type of music with which Christianity was introduced to them. They evolved a distinctive brand of music known as Yoruba native airs. This article is anchored on the theory of intercultural music, as propounded by Euba and Kimberlin, which addresses the phenomenon of musical works deriving from more than one culture. Wọ́rọ̀ rhythm is the most common rhythm employed in the early Yoruba native airs. It is based on a 12/8 compound time signature which produces a graceful rhythmic flow usually associated with Yoruba aristocracy and royalty. The musical instruments employed by the three selected composers are intercultural, which cuts across the four classes of musical instruments used in African ensembles, as well as those utilized in European church music.
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.
The clamour for an end to police brutality: satire songs of the endsars protests in Nigeria
(East African Journal of Arts and Social Sciences, 2021-02-11) Owoaje, T
The EndSars protests, which occurred in Nigeria in October 2020 employed a great deal of music, which include solidarity songs, popular music, and satirical songs. This article investigates the use of satirical songs in the EndSars protests. The protest, which recorded a massive turnout of protesters in October 2020 across major cities in Nigeria started several months on the social media, most especially Twitter, a microblogging website before it was finally taken to the streets. Anchored on the concept of social movement, it employs the use of participant observation and the social media platforms to gather data which were analysed using content analysis. Apart from being used to ridicule the Nigerian Police which has not engaged Boko-Haram terrorists but instead unleashes terror on harmless youths, satirical songs were used by protesters to express their long piled up anger at the Federal Government of Nigeria. This is due to several unfulfilled campaign promises, as well as the bad state of the nation’s economy which has contributed to the hike in price of food items and other essential commodities, coupled with the growing rate of unemployment. The Nigerian government should use the opportunity created by the massive protests to execute a thorough reform of the Nigerian security establishments and also engage youths more productively in order to enable them to contribute their quota to nation-building.
The indefatigable, itinerant school music teacher: Godwin Adedayo Dedeke (1921-1994)
(Ibadan journal of theatre arts [ijota], (13 & 14), pp. 108 -120, 2020-12-17) Owoaje, T; sofola, K
The rise and development of Yoruba art music was influenced by the activities of European missionaries in Lagos and its environs, which began in the mid-nineteenth century. It manifested in the form of sacred music in the church, and secular music in the schools and society. This gave rise to composers and practitioners of art music, whose objective was to create a modern tradition of Nigerian art music. They were trained in local and overseas institutions and composed music patterned, not only along European music, but also in combination with African musical elements. Amongst these composers were T.K.E Phillips, Fela Sowande and Dayo Dedeke. Using the theory of cultural nationalism, this article studies the life and musical contributions of Godwin Adedayo Dedeke (1921-1994), a Yoruba art musician and frontline school music teacher, whose works and activities spanned various schools across South Western Nigeria. His work culminated in the publication of his popular song book Ma gbagbe ile in 1963. Oral interviews and focus group discussions were used to gather data, which was presented utilising content analysis. Ma gbagbe ile contains 36 sacred songs, as well as 14 secular songs. As a school music teacher, Dayo Dedeke taught the songs to various secondary schools across South-Western Nigeria. He also popularised Yorùbá choral music through radio and television choral music programmes for schools and colleges, titled ‘The Young Voices’.