Theses and Dissertations

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Theses and Dissertations (Music)

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Open Access
The Evolution and Indigenization of Catholic Church Music among the Yoruba People of Southwestern Nigeria
(2015-05-15) Oyadiran, Kolawole Emmanuel
The purpose of this study was to explore the genesis and development of Church music; investigate the factors that occasioned the Second Vatican reforms vis-a-vis the Catholic Church music, and analyze the musical forms resulting from the Vatican II reforms. It further evaluated the impact of indigenization and the factors that influenced the musical forms resulting from Vatican II. Seven Bishops, twenty Reverend Fathers, five diocesan choirmasters, thirty-five choristers and two living pioneer composers were interviewed. These people served as major representatives of the Catholic Church in Southwestern Nigeria. Information was also gathered through participant observation at church services. Data and pieces of music collected were classified, transcribed into staff notation and analyzed within the framework of ethnomusicological theory, while the secondary sources in the form of relevant books, journals and magazines form reputable libraries and the internet were utilized. The study found out that the genesis and development of Catholic Church music among the Yoruba of Southwestern Nigeria passed through three stages. It started with the imposition of the Latinized form of liturgical Church music, followed by the adaptation of European Latin tulles on wrongly translated lyrics and lastly, the indigenization of catholic church music where by indigenous composers write liturgical music within the frame work of Yoruba indigenous musical idioms. The study revealed that the imposition of Latin as the official language of the Church, Gregorian and Ambrosian Plain songs as the official music and the pipe organ as the official instrument of the Church among others were factors that occasioned Vatican 11 reforms (1962 - 1965). The study nevertheless discovered that indigenization resulted in the use of indigenous music, dance and musical instruments in the liturgical services. This development created popular and greater participation by the congregations, the numerical growth of Catholic members and unalloyed commitment ill matters of faith and practices. In addition, the study revealed that almost all the composers and those in leadership position of Church music were priests, civil servants, artisans and non music professional. These people claimed to have received inspiration for their works from dreams, vision, homilies, folktales and traditional songs, among others. Furthermore, the study found that all liturgical songs collected from the field and playing of musical instruments were taught through the rote method and imitation. There was no standard notation employed in documenting the compositions, neither had most of the choirmasters and composers beers exposed to formal music education for the improvement of their musical skills. The study concluded that music was an indispensable element in the liturgical services of the Catholic Church. The indigenization of Church music therefore, constituted an act and a process in the Catholic Church.
Open Access
The Features of Drum Language as a Means of Communication in Nigeria
(2015-05-18) Pinmiloye, Olukunle Joshua
This study examined musical linguistic components of the drum language elucidated the use of drums in Nigeria's socio-cultural context and identified, the connection between theory and practice in drum language communication. This was with a view to revealing the importance of drum language as a special means of non-verbal communication. The field aspect of the research was done through oral interview with various traditional drummers in Nigeria as well as participation in and observation of drum performances by the drummers. Data were collected through interviews with four master drummers in the National Troupe of the National Art Theatre, Lagos; three Egba Ndi Eze master drummers in Umuahia. Abia State; two master drummers of Ogago music in Ikare Akoko, Ondo State: three master drummers of lyaalu dundun in Lagos; and two Tambura Hausa master drummers, in Lagos. Performances of the various forms of drum patterns were recorded, transcribed and analyzed, using musical notation. Related literature was also consulted for verification and confirmation of some information contained in the raw data. The result showed that there was a tonal relationship between human languages and drum tones. Drum patterns in each locality were found to be based on tonal inflections of the language of the people in the locality. It was also discovered that the distribution of musical instruments among the people of Nigeria was based on geographical location, which in turn determined the raw materials for drum-making. Dundun and Bata drums found in the southwestern part of Nigeria were made from animal skin (membrane). Pot drum and (lkoro) slit drum found in southeastern part were made from clay, gourd and logs of wood. Tambura drum found in the Northern part was made from thick animal hide. Drum language had four functions namely musical, symbolic through visual appearance, signaling. and as a surrogate for the human voice. This study concluded that the symbolic function of drum language communication transcended the aspect of nonverbal and verbal communication and was one of the important virtues of the Nigerian cultural heritage.
Open Access
Folksong as a Mode of Communication for Trade Advertisement in Abraka Community
(2015-06-26) Efurhievwe, Akpevweoghene Margaret
The study examined the significance of folksongs as a cultural heritage and their functions in trade advertisement, discussed the contextual features of folksongs in trade advertisement and analyzed the structural features of the folksongs selected and used in trade advertisement. This was done with a view to identifying folksongs as an indispensable medium of communication in trade advertisement in Abraka community. The study employed descriptive and analytical methods. In collecting the data, the participant observation method was employed. For a period of two weeks, thirty two songs were collected and recorded on audio tape. These songs were collected from 'evening and 'day' markets of the thirteen villages and Abraka township that made up the Abraka community. A total of thirty informants comprising ten elders who were knowledgeable on the ethnography of the sampled area, ten advertisers and ten buyers resident in the community were purposively selected for interview. Books, journals and other relevant literature were also consulted to support the information derived from oral interviews. The collected songs were transcribed and analysed using ethnomusicological theory. Apart from informing and stimulating consumers' interest to buy the advertised goods, the results showed that it equally served as a medium of communicating ideas and knowledge. The songs functioned as an indirect source of education for the target audience in their homes and places of work. As the buyers saw and heard what was being advertised, their understanding o f the message(s) was enhanced and consequently, their willingness to purchase the advertised goods was stimulated. The songs helped the advertisers make better sales. The structural analysis of the sampled folksongs, which was based on rhythm/Beat, Scale/Tonality, Melody, Form and Harmonic Texture, revealed that free and strict Rhythm, definite and indefinite pitches, tetratonic, pentatonic and hexatonic scales were predominant in folksongs of Abraka trade advertisement. The melodies were undulating in progression, the harmonic texture was monophonic; andthere were instances of improvised accompaniment featuring the use of idiophones. The study concluded that folksongs played a significant role in trade advertisement and constituted a vibrant and living musical idiom in Abraka community.
Open Access
Gbedu as a Musical Genre in the Palace of the Oba of Lagos
(2015-04-16) Atundaolu, Olatunbosun Samuel
The study examined gbedu as an instrumental musical genre, its origin and its functions in all its ramifications in the palace of the Oba of Lagos. This was with a view to revealing its significance as a ceremonial music in the palace of the king. This study relied immensely on oral tradition, observation and participation, as its primary source of information. Three traditional chiefs (Bajulu of Lagos, Obanikoro of Lagos and Ashogbon of Lagos), a retired gbedu artiste, two court musicians who played igbe and dundun-sekere at the palace of the Oba of Lagos, and three practicing gbedu artistes on Lagos Island were interviewed on the origin and historical background of gbedu music. Secondary material on the subject matter was consulted in the library, archives and Internet. Performances of the music were recorded, transcribed, and analyzed, using ethnomusicological theory. The findings showed that gbedu music was brought from Benin to Lagos to symbolized royalty, and could also represent the Oba of Lagos just like his staff of office. Gbedu played a significant role on ceremonial occasions and was used to welcome important dignitaries and entertain them in the king's courtyard. It aIso featured in rituals, festivals and celebrations. However, it was not devoted to any god. It was revealed that, in spite of the enormous influence of Western cultural values on the Yoruba way of life, gbedu music had been able to maintain its continuous stability and originality as part of the musical heritage in the palace of the Oba of Lagos. The study concluded that gbedu music was a vital part of the royal insignia at the palace of the Oba of Lagos.
Open Access
The Impact of Technology on the Teaching of Music in Colleges of Education in Southwestern Nigeria
(2015-06-18) Amigun, Oluwafemi Ayodeji
The study evaluated the impact of technology in music teaching in Nigerian Colleges of Education. It identified and examined aspects of technology that had influenced music teaching and learning in Nigerian Colleges of Education by tracing the origin, and examining the effects they produced in the teaching of music in selected Colleges of Education. This was done with a view to identifying aspects of the use of technology that needed improvement. All the five Colleges of Education in southwestern Nigeria with music department were purposely selected. The methodology used in carrying out this research included interviews, questionnaire, micro teaching (observation), library and internet search. A specially designed questionnaire on the impact of technology on music teaching was administered on all year II and III music students (224 in number) and ten lectures who taught core music courses in the Colleges of Education, two from each college. Micro teaching was carried out and a test on the application of digital technology in music production through performance was given to the student. Four out five Heads of the Department of Music in the Colleges were interviewed. The data collected were analysed using descriptive and inferential statistics. The result showed that technology had really influenced music teaching and learning in areas such as duplicating of music, viz: photocopying, notation, printing, audio and visual recording, classroom teaching methods, instrumentation and computerization. The study revealed that technology had enormously facilitated music teaching and learning, enhanced the quality of music production, increased the amplitude and variety of musical instruments, extended the range of instructional materials, simplified the work of illustration and made the teaching and learning of the art a lot more fascinating than it used to be. Technology had also provided facilities that made the documentation and preservation of music much easier. It had also increased the possibilities of multimedia in music recording in and outside classroom situations in the colleges. However, improved technology accounted for the rising cost of music education, the purchase, maintenance and replacement of instruments. The problem of poor maintenance of facilities in the colleges was traced to the lack of trained music technologists who specialised in repair, servicing and maintenance of instruments. The study concluded that technology had affected positively the teaching and learning of music in the five Colleges of Education, but the problem of underfunding limited its potentialities.
Open Access
Social Organization and Musical Style in the Court Music of the Alaafin of Oyo
(2015-03-31) Ajewole, John Olugbenga; Bateye, O. O.
This study examined the court music of the Alaafm of Oyo in order to establish its origin, development, organization, and performance. This was with a view to highlighting the aesthetic and moral functions embedded in the music. The research combined historiographical and ethomusicological approaches . Historical oral information was collected through interviews with the Alaafin, his Court Chiefs and the Court Musicians who were custodians of traditions in the Alaafin's palace. Performances of the Court Music of the Alaafin of Cyo, the historical chants of the genealogies of all the Alaafin- from Alaafin Atiba I to the current Alaafin Adeyemi III – and the songs that companied the music were recorded on tape. The recorded music, chants and songs were transcribed, analyzed, categorized and described using the ethnomusicological method. The results showed that the origin and development of the Alaafin Court music could be dated back to the beginning of the 19th Century when Alaafin Atiba with some leading Oyo families and the fleeing population moved from the old Oyo and settled in the present Oyo town. The study discovered that out of the various musical genres/styles in the court music of Alaafin of Oyo, such as dundun- sekere, rara, sekere and aro, akunyungba, apinti, igbatiti, kakaki and gbedu, dundun - sekere was the official music of the palace . The study discovered three forms of social organizations of music in the Alaafin's palace – (1) music for social occasion in the palace, such as naming, religious worship, and coronation; (2) music to communicate to the Alaafin (e.g to wake him up and to announce the arrival of important dignitaries in the palace ; and (3) music to entertain visitors and audience in the Alaafin's palace. The study revealed that the Alaafin's choice of a musician was usually from the descendants of court musicians. The study concluded that both the vocal and instrumental genres of the Alaafin's court music were historical in nature, reminding people of the past and of the traditional values of the society. It also concluded that court music embodies historical allusions and had become part of the political institution in the Alaafin's Court.
Open Access
A Study of the History, Style and Identity in Musical Practices of the Celestial Church of Christ
(2015-04-22) Faseun, Oluwafemi; Adegbite, A. A.
The study investigated the historical sources of various forms of music used in the Celestial Church of Christ, the styles as well as the major features and performance practices that characterised the music. It identified the major contributors to its growth and development and also examined the performance styles and context. This was with a view to explicating the sociological and cultural factors that enhanced the growth of music in the Celestial Church of Christ. Historical and musical data on the musical practices of the Church in Nigeria were collected through oral interviews of a total of thirty-one purposefully selected informants. The informants interviewed included three top leaders of the church in Lagos, Oyo and Delta States, eight highly placed full-time church ministers (Superior and Senior Evangelists), six former choirmasters practicing organists and four vocalists at the national headquarters of the Church (who are now based in different parts of Lagos and Oyo States), and ten music directors-cum-ministers of other orthodox and Pentecostal churches, who are university graduates. In addition, archival and library materials, as well as materials from the electronic media were consulted. Live performances of the Celestial Church of Christ music were recorded, transcribed and documented. The analysis of the data was done using ethnomusicological method. The findings showed that a good portion of Celestial Church of Christ music was attributed to the prophets and prophetesses of the church, most of whom had passed on without proper documentation of their individual efforts. Other sources included liturgical music of other Christian churches and adaptations of non-religious music to religious texts. The contributions of the major participants to the growth of music in the church included delivery of revealed texts and melodies (without any formal training in the art of music composition), adaptation of new texts to adopted tunes from some other sources, documentation of revealed songs and involvement in the performance as well as sponsorship/financing of talented musicians. The study further revealed that the music was performed in popular African styles, in hybridised harmony and with clearly marked African melodic and rhythmic features. The choral arrangement in the typical Celestial Church of Christ did not follow the conventional Soprano, Alto, Tenor and Bass (SATB) style. Music was a major tool with which the Celestial Church of Christ conducted its affairs and featured prominently in most of its events. It served as a source of inspiration for its prophets and prophetesses) Leaders of the church in charge of music were mainly artisans and other professionals. There was neither central control nor any standardisation of the musical practices of the church. Most of the hymns and hymnbooks in use were attributed to divine inspiration The study concluded that music was indispensable element in most activities, of the Celestial Church of Christ. It was therapeutic and also functioned culturally as the key symbol that identified the church.

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