Scholarly Works
Permanent URI for this collectionhttps://repository.ui.edu.ng/handle/123456789/773
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Item From christian brigade to commercialized popular genre: The development of gbókùs music among the Yorùbá of southwestern Nigeria(2017-12) Samuel, K. M.; Olapade, J. A.An outcome of European, especially Christian missionary, incursion into African societies is the emergence of new social groups and new contexts for musico-cultural performances. Social change did not only trigger a modification of existing musical forms, it also facilitated the appearance of new ones; one of which is gbókùs music among the Yorùbá of Nigeria. In spite of its popularity at social ceremonies, the genre has received little scholarly attention. Adopting the theory of diffusion of innovation, this paper traces the evolution of gbókùs music in Yorùbá society from its formative stage as Boys Brigade parade music to its transitory period as a social music for funeral processions. The music was initially characterized by performances aimed at promoting Christian evangelistic activities until its development into full maturation aided by socio-economic factors from within and outside the church setting. The paper submits that gbókùs music represents a creative continuum of a mutated musical art within the normative contemporary African cultural production framework.Item Igbin musical tradition in Yoruba culture(The Department of Music, Faculty of Arts, Nnamdi Azikiwe University, Awka Anambra State, Nigeria, 2013-07) Samuel, K. M.; Olapade, J. A.The Yoruba of South-western Nigeria like many African societies since the pre-colonial era have paid great attention to their cultural practices including traditional worship of deities such as sango, osun, esu, ogun, obatala and so forth. In the Yoruba worldview, religious worship remains a major avenue of communing and renewing relationship with the spirit world in order to maintain cosmological equilibrium. Activities connected with act of worship often involve the use of music and musical instruments. While much is known about numerous Yoruba traditional drums such as the dundun, bata, bembe, gbedu and so forth, little is known about igbin musical performances in the society. This paper, therefore, examines igbin orisa musical tradition and its place in Yoruba society. The igbin ensemble consists of three drums namely iyaalu, omele-ako and omele-abo. Besides the usual musical function, the ensemble typifies the family as the central unit upon which the Yoruba society is anchored. Effects of acculturation resulting in a shift from traditional worship to other religions especially Christianity and Islam as well as erosion of societal values were also identified. Drawing examples from the organisation and performance practices of Igbin music in Yoruba culture, the paper argues that African musicology could make more meaningful contributions including knowledge preservation and promotion of African cultural heritage beyond mere documentation which had hitherto characterised the discipline.