Music

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    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.
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    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’.
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    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.