Scholarly Works
Permanent URI for this collectionhttps://repository.ui.edu.ng/handle/123456789/773
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Item Insidious eroticism in musical performances of Saint Janet(2019) Samuel, K. M.; Adejube, S. A.From euphemism to dysphemism, the Nigerian popular music industry has enjoyed the patronage of the masses aided by the various virtual communities in the propagation of its message of eroticism. Unlike many Nigerian popular music artistes who are aggressive in their erotica performances, Saint Janet is a creative music artiste whose adoption of insidious eroticism knows no bound. With the use of ethnographic techniques (key-informant interview and participant observation), this article discusses the insidious eroticism used in Saint Janet's music. The paper argues that the Christian religious background of the artiste and the need to fulfil her daily needs have been the factors responsible for her insidious creativity. Socio-cultural themes such as didactic, religious, therapeutic, entertainment are part of her techniques in entrapping her audience in her web of eroticism. Subtly, both the young and old are lured into her erotica performances. The paper also argues that parody has been her major compositional technique with emphasis on the reconstruction of several Juju gospel music.Item Portrait of Yoruba aesthetics in Saheed Osupa's fuji music(2018) Samuel, K. M.; Ogunrinola, M. A.This paper examines how the subject of Yoruba aesthetics is constructed in the performance and works of Saheed Osupa, a prominentfuji music exponent in Nigeria. The study adopted discographic research approach and used purposive sampling technique to select Omoge, a track on Osupa's music album entitled Reliable. Recorded materials were transcribed and subjected to thematic and structural analyses. Ambivalences of postcolonial cultural production expressed in Omoge are marked ways by which Saheed Osupa's desire and clamour for character of beauty: a notable canon of Yoruba aesthetics are constructed. Textual analysis reveals a form of antinomy as signified by the way the musician tend to place a greater emphasis on dressing and artificial beauty than paying attention to a lady's good character, which is a more culturally acceptable inner form of beauty. Musical elements in Osupa’s works undulate between its through-composed formal structures to repetitiveness as a prominent compositional device. The paper stresses the futility in trying to separate the subject o' beauty from other well established virtuous attributes which the Yoruba hold so dear.Item African indigenous knowledge system as a catalyst for enriching Nigeria's music education programme(Pan African Society for Musical Arts Education (PASMAE), WEST AFRICA SUB-REGION, 2017) Samuel, K. M.The uniqueness of African indigenous knowledge systems (IKS) and the benefits of integrating them into Africa’s music educational programme were some of the issues that occupied the front burner at the birth of the Pan African Society for Musical Arts Education (PASMAE). It represented one of the responses to the wake up call to Africa to look inward in search of truly African sensitive and African-oriented solutions to a myriad of her music educational challenges in the world that is changing with bewildering speed. This paper x-rays the contents of music programmes in Nigeria’s tertiary institutions with a view to identifying IKS elements contained in them. Using observation and a checklist of curriculum implementation of Nigeria’s leading music technology programme as methodology, the paper highlights challenges confronting implementers in realizing set objectives. Findings confirm that the abundant richness of Africa’s IKS is yet to be harnessed. The paper concludes by making specific recommendations on how various stakeholders, including the Department of Music Technology, the Polytechnic, Ibadan, can innovatively achieve the much-desired goal of standardization, fabrication, massive production and promotion of traditional musical instruments to facilitate practical teaching.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 Musical figuring of postcolonial urban segmentarity in Wasiu Ayinde's fuji works(AJAH PUBLICATIONS, Ghana, 2016) Samuel, K. M.In this paper, I gleaned from Gilles Deleuze and Felix Guattari’s concept of segmentarity to examine the how postcolonial urban forms of social segregation and marginalization are figured in selected musical works of WasiuAyinde - a prominent fujimusician.The study adopted semi ethnographic design. Purposive sampling technique was used to select two tracks from different albums by Wasiu Ayinde, namely, ‘Kl’on the album Fact and ‘Action Congress’on the album Promising, where the artiste portrays the challenge of urban social conditions such as poverty, unemployment, epileptic power supply and so forth which are largely stratified along class distinction. In the work - Fact – Ayinde represents his criticism of the type of maladministration that characterized President Obasanjo's civilian regime between 1999 and 2007, particularly the ruler's failure in redressing inequality and the widening segregations between different classes of people. I argue that although the musician shows a strong desire to eliminate this postcolonial urban segmentarity and marginality, he, nevertheless, also performatively participates in maintaining and reproducing it. This is based on the musician's ambiguous responses to similar conditions, especially when viewed against his eulogy of, and collaboration with the then major opposition political party, Action Congress, widely criticized for its ineptitude in political governance.Item From medical practice to practical musicianship: an exploration into the life and works of Dayo Oyedun(Association of Nigerian Musicologists, 2016) Samuel, K. M.; Ashaolu, S. O.Item The ecumenical King Sunny Ade(Institute of African studies, University of Ibadan, Ibadan, 2016) Samuel, K. M.Item The 'eye of the needle' debate: marking the boundaries of professionalism in contemporary Nigerian gospel music(Association of Nigerian Musicologists, 2015) Samuel, K. M.Item The mask and the message: musical figuring of Lagbaja's artful diplomacy(Institute for Peace and Strategic Studies, University of Ibadan, Ibadan, 2015-05) Samuel, K. M.The conceptual adoption of a hidden personality by Lagbaja, Nigeria's famous masked popular music artiste, to depict the facelessness of the common man represents artful diplomacy within African cultural milieu. Lagbaja relies on various resource materials including Yoruba folklore, oriki (descriptive poetry), owe (proverbs), afojuinuwo (imagination) and ohun to nlo (current affairs) in his satirical compositions. Through these elements, the artiste succeeds in making graphical representations of figures to facilitate transformative visualisation of the various political and socio-economic occurrences in Nigeria without attracting any negative consequences on his person. This paper adopts Louise Meintjes' concept of music figure to analyse how Lagbaja deploys definitive narratives in negotiating his crusade for an egalitarian society. Specific attention is drawn to the nuance with which the artiste critiques the double burden state of Nigeria's polity as represented by her leaders' repressive actions on one hand, and corollary inactions of and consequences on the led on the other. The paper posits that the figuring of the dynamics of events that shape the day-to-day ordinary life of Nigerians facilitates its proper contextualisation in the reading and interpretation of Lagbaja's songs and drum texts.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.