Nigerian Gospel music, in recent times, has featured more creative dynamics in its pathos and ethos. A case study is the interaction between Yoruba and Igbo gospel music styles, even while they retain their distinct characteristic-features. The objective of this effort which situates in comparative musicology, is to attempt a comparative analysis of the two styles with the purpose of delineating the interactive points and the resultant style in terms of performance practices. While Fiadgbezi’s grammatical theory of descriptive approach forms the bedrock for this paper, we collected and analysed its primary data through discography, bibliography and comparative musicological methods. It was discovered that while both Yoruba and Igbo gospel music styles possess peculiar stylistic elements, there have been cross-cultural borrowings that have resulted in a bicultural (Yoruba-Igbo style). The paper concluded that socio-cultural interaction in musical pathos and ethos is aesthetically and socially rewarding.
{"title":"Comparative analysis of contemporary Yoruba and Igbo gospel music styles","authors":"‘Femi Adedeji, Stella N. Nwobu","doi":"10.4314/janm.v16i1.5","DOIUrl":"https://doi.org/10.4314/janm.v16i1.5","url":null,"abstract":"Nigerian Gospel music, in recent times, has featured more creative dynamics in its pathos and ethos. A case study is the interaction between Yoruba and Igbo gospel music styles, even while they retain their distinct characteristic-features. The objective of this effort which situates in comparative musicology, is to attempt a comparative analysis of the two styles with the purpose of delineating the interactive points and the resultant style in terms of performance practices. While Fiadgbezi’s grammatical theory of descriptive approach forms the bedrock for this paper, we collected and analysed its primary data through discography, bibliography and comparative musicological methods. It was discovered that while both Yoruba and Igbo gospel music styles possess peculiar stylistic elements, there have been cross-cultural borrowings that have resulted in a bicultural (Yoruba-Igbo style). The paper concluded that socio-cultural interaction in musical pathos and ethos is aesthetically and socially rewarding.","PeriodicalId":158516,"journal":{"name":"Journal of the Association of Nigerian Musicologists","volume":"212 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115772290","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article aims at reengineering the creative industry of music into the creative economy structure. As a critical sector of the Nigerian economy, music and its economic potential are quite enormous and require to be properly harnessed to provide appropriate royalties and revenues both to the artistes and to the government. Without doubts, music has many aspects to engender funds and income. What are these areas and what services do they provide? This paper discusses the various ways of moving music under the umbrella of the creative industry to the creative economy through the empirical research methodology, interviews, and primary and secondary sources of data collection. It also establishes models and strategies capable of generating money for the practitioners as well as yielding revenue to the government. Music ethos provides the conceptual framework and understanding dealing with logical thinking, intellectual philosophical mores, and harvest capable of driving home this research. Through the establishment of economic structures, it is believed and envisioned that the application or engagement of logical creative thinking, creative economy structures, and royalty sources flow, intellectually stimulating philosophy in commerce and entrepreneurship is capable of moving the Nigerian Music from creative industry to creative economy.
{"title":"Ethos in Nigerian music: Moving the creative industry to creative economy","authors":"O. Nwankpa, Clare Ifeyinwa Nwankpa","doi":"10.4314/janm.v16i1.15","DOIUrl":"https://doi.org/10.4314/janm.v16i1.15","url":null,"abstract":"This article aims at reengineering the creative industry of music into the creative economy structure. As a critical sector of the Nigerian economy, music and its economic potential are quite enormous and require to be properly harnessed to provide appropriate royalties and revenues both to the artistes and to the government. Without doubts, music has many aspects to engender funds and income. What are these areas and what services do they provide? This paper discusses the various ways of moving music under the umbrella of the creative industry to the creative economy through the empirical research methodology, interviews, and primary and secondary sources of data collection. It also establishes models and strategies capable of generating money for the practitioners as well as yielding revenue to the government. Music ethos provides the conceptual framework and understanding dealing with logical thinking, intellectual philosophical mores, and harvest capable of driving home this research. Through the establishment of economic structures, it is believed and envisioned that the application or engagement of logical creative thinking, creative economy structures, and royalty sources flow, intellectually stimulating philosophy in commerce and entrepreneurship is capable of moving the Nigerian Music from creative industry to creative economy.","PeriodicalId":158516,"journal":{"name":"Journal of the Association of Nigerian Musicologists","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129728137","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Criticism through music is an aspect of musicology that has come to stay in society. Nigerian pop artists have explored music criticism which has given rise to the numerous released songs criticizing the government, organizations, or individuals directly or indirectly. The situation of Nigeria’s economy and security has depleted over the past decade which has seen an increase in insecurity, corruption, and police brutality. In the light of this, musicians have over the years continuously lend their voice in these discussions by releasing thought provocative songs that are exhilarating to the consumers. These songs have proven to be relevant in the fight against corruption, insecurity and injustice in Nigeria as they try to correct or proffer solutions to the ills in society. In the wake of October 14 2020, a group of youth protested at the Lekki toll gate in Lagos state against police brutality to innocent citizens and some of these thought-provoking songs were the driving force behind their emotions. The philosophy behind the songs have educated Nigerian citizens on their fundamental rights which has become an eye opener for both the oppressor and the oppressed This study intends to discuss, and analyze the text of the songs used during this protest to ascertain if using the songs was justified. The methodology for collecting data for this research purpose is through observations and discographies.
{"title":"A musicological discourse on selected popular songs used during the 2020 #End SARS protest in Lagos, Nigeria","authors":"Davou Bali Iliya","doi":"10.4314/janm.v16i1.4","DOIUrl":"https://doi.org/10.4314/janm.v16i1.4","url":null,"abstract":"Criticism through music is an aspect of musicology that has come to stay in society. Nigerian pop artists have explored music criticism which has given rise to the numerous released songs criticizing the government, organizations, or individuals directly or indirectly. The situation of Nigeria’s economy and security has depleted over the past decade which has seen an increase in insecurity, corruption, and police brutality. In the light of this, musicians have over the years continuously lend their voice in these discussions by releasing thought provocative songs that are exhilarating to the consumers. These songs have proven to be relevant in the fight against corruption, insecurity and injustice in Nigeria as they try to correct or proffer solutions to the ills in society. In the wake of October 14 2020, a group of youth protested at the Lekki toll gate in Lagos state against police brutality to innocent citizens and some of these thought-provoking songs were the driving force behind their emotions. The philosophy behind the songs have educated Nigerian citizens on their fundamental rights which has become an eye opener for both the oppressor and the oppressed This study intends to discuss, and analyze the text of the songs used during this protest to ascertain if using the songs was justified. The methodology for collecting data for this research purpose is through observations and discographies.","PeriodicalId":158516,"journal":{"name":"Journal of the Association of Nigerian Musicologists","volume":"117 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124158431","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The traditional music of the Annang of Nigeria is a product of the people’s cultural beliefs, codes, and mores. It represents a model of the philosophy of the Annang communities encapsulating their social and cultural inclinations. This musico-cultural ethos, when identified as pre-colonial (as it has always been), presupposes that cultural changes and modernity have impacted and disrupted these pristine or near-pristine ways of life. What then is left of traditional music? How do they survive amidst dominating genres of foreign descent? This paper examines how cultural changes have disadvantaged the traditional music of the Annang people. The study employs an analytical approach to textual music with other extant literary materials. The paper argues that traditional music will soon become extinct unless the interest in musical revival and sustainability engages identity conventions. It concludes that a conscious attempt at pathos (compassion and sympathy) should be made using modern modes of musical creativity, such as composition, songwriting and modern technology devices.
{"title":"The ethos and pathos of traditional music: The Annang experience","authors":"Isaac E. Udoh","doi":"10.4314/janm.v16i1.6","DOIUrl":"https://doi.org/10.4314/janm.v16i1.6","url":null,"abstract":"The traditional music of the Annang of Nigeria is a product of the people’s cultural beliefs, codes, and mores. It represents a model of the philosophy of the Annang communities encapsulating their social and cultural inclinations. This musico-cultural ethos, when identified as pre-colonial (as it has always been), presupposes that cultural changes and modernity have impacted and disrupted these pristine or near-pristine ways of life. What then is left of traditional music? How do they survive amidst dominating genres of foreign descent? This paper examines how cultural changes have disadvantaged the traditional music of the Annang people. The study employs an analytical approach to textual music with other extant literary materials. The paper argues that traditional music will soon become extinct unless the interest in musical revival and sustainability engages identity conventions. It concludes that a conscious attempt at pathos (compassion and sympathy) should be made using modern modes of musical creativity, such as composition, songwriting and modern technology devices.","PeriodicalId":158516,"journal":{"name":"Journal of the Association of Nigerian Musicologists","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130430396","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Studies have covered analysis in Western and African compositions to include a detailed description of the arrangement of every segment of the music. However, less structural analysis has ventured into the pathos of the arrangement of the musical segments. Engaging in the pathos of the structure of Laz Ekwueme’s choral music (Hombe) will bring to limelight how musical structure enhances emotions and psychological feelings. Methodology relies on analysing the musical elements explored in the composition and close score reading of Hombe using structural analysis model. The result shows that Ekwueme employed the Western four-part chorus arrangement as an ornamental device to establishing the diverse African music elements such as repetition of thematic idea in all parts for emphasis, syncopation, varied tempo and shifting accents and tonality thereby enhancing varied moments of emotions, affects and excitement. The paper concludes that the arrangement of different segments of Hombe created moments of extraordinary pathos evoking different emotions and psychological feelings. Musical structure is thus a compositional device with the power to evoke feelings thereby creating a characteristic pattern of a musical style.
{"title":"Pathos in the structure of Laz Ekwueme’s Choral Music: Hombe","authors":"Mary Taiwo Omotosho, Femi Abiodun","doi":"10.4314/janm.v16i1.12","DOIUrl":"https://doi.org/10.4314/janm.v16i1.12","url":null,"abstract":"Studies have covered analysis in Western and African compositions to include a detailed description of the arrangement of every segment of the music. However, less structural analysis has ventured into the pathos of the arrangement of the musical segments. Engaging in the pathos of the structure of Laz Ekwueme’s choral music (Hombe) will bring to limelight how musical structure enhances emotions and psychological feelings. Methodology relies on analysing the musical elements explored in the composition and close score reading of Hombe using structural analysis model. The result shows that Ekwueme employed the Western four-part chorus arrangement as an ornamental device to establishing the diverse African music elements such as repetition of thematic idea in all parts for emphasis, syncopation, varied tempo and shifting accents and tonality thereby enhancing varied moments of emotions, affects and excitement. The paper concludes that the arrangement of different segments of Hombe created moments of extraordinary pathos evoking different emotions and psychological feelings. Musical structure is thus a compositional device with the power to evoke feelings thereby creating a characteristic pattern of a musical style.","PeriodicalId":158516,"journal":{"name":"Journal of the Association of Nigerian Musicologists","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116663322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ayoade Jacob Ekunwale, Reuben Olayemi Ibidun, Bolaji Omotayo Omoniyi
Àdàmò traditional music practice in Ìjèsàland has been part of the culture from the inception, as history says that Ìjèsà people brought the art with them to Ìjèsàland from Ile Ife. Owing to this assertion, it is then obvious that Àdàmò traditional music is a traditional heritage of Ìjèsà people both home and abroad. This paper seeks to view the cultural and musical value of Àdàmò traditional music in Ìjèsàland, how important is this genre of music to the Ìjèsà sons and daughters within Ìjèsàland. To achieve these, information for this write-up was gathered through in-depth interviews with seven (7) of its exponents and four (4) community dwellers across the land. In addition, discography, books, journals, and internet constitute the secondary source for this write-up. It was found out that in spite of the over bearing influence of modern musical practices and several musical genres in Ìjèsàland, Àdàmò traditional music has its place in the day to day activities of Ìjèsà people, especially the role it plays during the major traditional festival of Ìjèsàland called Ìwúde Oba, that the festival will not be concluded until Àdàmò traditional music is performed. This study therefore concludes that, this genre should be explored by the musicologists and attention should be given by all and sundry in Ìjèsàland for better placement, relevance and developments among the contemporaries in Nigeria music scene.
{"title":"Cultural and musical values of Àdàmò traditional music in Ìjèsàland","authors":"Ayoade Jacob Ekunwale, Reuben Olayemi Ibidun, Bolaji Omotayo Omoniyi","doi":"10.4314/janm.v16i1.8","DOIUrl":"https://doi.org/10.4314/janm.v16i1.8","url":null,"abstract":"Àdàmò traditional music practice in Ìjèsàland has been part of the culture from the inception, as history says that Ìjèsà people brought the art with them to Ìjèsàland from Ile Ife. Owing to this assertion, it is then obvious that Àdàmò traditional music is a traditional heritage of Ìjèsà people both home and abroad. This paper seeks to view the cultural and musical value of Àdàmò traditional music in Ìjèsàland, how important is this genre of music to the Ìjèsà sons and daughters within Ìjèsàland. To achieve these, information for this write-up was gathered through in-depth interviews with seven (7) of its exponents and four (4) community dwellers across the land. In addition, discography, books, journals, and internet constitute the secondary source for this write-up. It was found out that in spite of the over bearing influence of modern musical practices and several musical genres in Ìjèsàland, Àdàmò traditional music has its place in the day to day activities of Ìjèsà people, especially the role it plays during the major traditional festival of Ìjèsàland called Ìwúde Oba, that the festival will not be concluded until Àdàmò traditional music is performed. This study therefore concludes that, this genre should be explored by the musicologists and attention should be given by all and sundry in Ìjèsàland for better placement, relevance and developments among the contemporaries in Nigeria music scene.","PeriodicalId":158516,"journal":{"name":"Journal of the Association of Nigerian Musicologists","volume":"272 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131577052","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Music has always been an indispensable tool in any church setting. In Nigeria, the early missionaries appropriated music in liturgical services in form of hymn singing, chant and anthem as part of worship in the church. With continual apt growth of Christianity in Nigeria, Assemblies of God church evolved from the Pentecostal movement, with emphasis on the activity of the Holy Spirit and on holy living. Hence, contents and styles of music were made to suit the pattern and beliefs of Assemblies of God such as spirit motivated songs, evangelistic songs, mission songs and salvation songs other than the conventional hymns singing and anthems. This paper therefore attempts to highlight the distinctive traits of Assemblies of God, Uyo District, and its reflection on the music ministration. Also, it showcases the basics for music ministers (choristers and music directors) to include: musical background, spiritual life, social and leadership skills as fundamental principles, beliefs and moral conduct patterned by the beliefs of the church for quality service to God and humanity. Qualitative design and typical forms of data drawn from interviews, participant observations and relevant documents were applied in the study for data collection. The significance of this paper is to provide justifiable guidelines to every music minister to attain the required moral and music standard widely accepted and appreciated by God and man. With the findings, it recommends periodical re-orientation towards musical knowledge and spiritual relevance as regard to what Assemblies of God believe for effective music ministration
{"title":"Reflections on ethos and tenets of music in the Assemblies of God Uyo district, Akwa Ibom State","authors":"Ekaette C. Udok","doi":"10.4314/janm.v16i1.11","DOIUrl":"https://doi.org/10.4314/janm.v16i1.11","url":null,"abstract":"Music has always been an indispensable tool in any church setting. In Nigeria, the early missionaries appropriated music in liturgical services in form of hymn singing, chant and anthem as part of worship in the church. With continual apt growth of Christianity in Nigeria, Assemblies of God church evolved from the Pentecostal movement, with emphasis on the activity of the Holy Spirit and on holy living. Hence, contents and styles of music were made to suit the pattern and beliefs of Assemblies of God such as spirit motivated songs, evangelistic songs, mission songs and salvation songs other than the conventional hymns singing and anthems. This paper therefore attempts to highlight the distinctive traits of Assemblies of God, Uyo District, and its reflection on the music ministration. Also, it showcases the basics for music ministers (choristers and music directors) to include: musical background, spiritual life, social and leadership skills as fundamental principles, beliefs and moral conduct patterned by the beliefs of the church for quality service to God and humanity. Qualitative design and typical forms of data drawn from interviews, participant observations and relevant documents were applied in the study for data collection. The significance of this paper is to provide justifiable guidelines to every music minister to attain the required moral and music standard widely accepted and appreciated by God and man. With the findings, it recommends periodical re-orientation towards musical knowledge and spiritual relevance as regard to what Assemblies of God believe for effective music ministration","PeriodicalId":158516,"journal":{"name":"Journal of the Association of Nigerian Musicologists","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122348328","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ethos and pathos in Nigerian music","authors":"Richard C. Okafor","doi":"10.4314/janm.v16i1.1","DOIUrl":"https://doi.org/10.4314/janm.v16i1.1","url":null,"abstract":"No Abstract.","PeriodicalId":158516,"journal":{"name":"Journal of the Association of Nigerian Musicologists","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115135659","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Popular music in Nigeria is kindled with a high spirit of cultural awakening and representation by different ethnic groups in their various musical practices. This paper examines the evolution of this musical culture- Igbo popular music in Nigeria from the post-independence era (1960) to the modern era (2020). This paper adopts the ethnographic method of gathering relevant data for evaluation and analysis. The outcome of the analysis reveals that the independence and post-independence era (1960-2000) were observed to have witnessed the highest level of creativity and ingenuity in musical outputs, through performances and marketing activities. On the other hand, the modern era (2000 till date), was adjudged to have witnessed high level of technological influx into the music industry. Despite this, musical creativity, lyrical depth, and dexterity in instrumentation by younger musicians were observed to be lacking. The activities of music producers, promoters and corporate organizations in promoting and advancing popular music in Nigeria dominated the better part of the modern era. It is thus recommended that much effort should be channeled into the documentation of popular music to raise the body of historic referral documents, which should be archived (digitally or physically) in cultural centres/ institutions in Nigeria, for easy access and referential purpose by researchers of allied disciplines.
{"title":"Ethos and pathos in Nigerian popular music: The historical discourse on cultural evolution and Igbo participation from post-independence era till date","authors":"Chinedum N. Osinigwe","doi":"10.4314/janm.v16i1.2","DOIUrl":"https://doi.org/10.4314/janm.v16i1.2","url":null,"abstract":"Popular music in Nigeria is kindled with a high spirit of cultural awakening and representation by different ethnic groups in their various musical practices. This paper examines the evolution of this musical culture- Igbo popular music in Nigeria from the post-independence era (1960) to the modern era (2020). This paper adopts the ethnographic method of gathering relevant data for evaluation and analysis. The outcome of the analysis reveals that the independence and post-independence era (1960-2000) were observed to have witnessed the highest level of creativity and ingenuity in musical outputs, through performances and marketing activities. On the other hand, the modern era (2000 till date), was adjudged to have witnessed high level of technological influx into the music industry. Despite this, musical creativity, lyrical depth, and dexterity in instrumentation by younger musicians were observed to be lacking. The activities of music producers, promoters and corporate organizations in promoting and advancing popular music in Nigeria dominated the better part of the modern era. It is thus recommended that much effort should be channeled into the documentation of popular music to raise the body of historic referral documents, which should be archived (digitally or physically) in cultural centres/ institutions in Nigeria, for easy access and referential purpose by researchers of allied disciplines.","PeriodicalId":158516,"journal":{"name":"Journal of the Association of Nigerian Musicologists","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123564548","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Death, transition and other related terms are used by various human societies to communicate the ending of all formal functions and processes in the life of a living organism. When death occurs, it causes an emotional outburst which people express in forms of chants, recitations and dirges. In most parts of Africa, the death of an adult member of the society goes with the rendition of some songs in honour of the deceased and to contemplate on death as a natural phenomenon during the funeral. The Igbo of South Eastern Nigeria, through funeral, send off the deceased solemnly as she/he was welcomed at birth. The essence of this is captured in Igbo cosmic thought and in many funeral songs. Therefore, the focus of this paper is to identify some strands of meaning which most Igbo funeral songs convey and to also highlight their basic thematic constructs. The paper applied expository and analytical methods of research for data collection. It then observed that Igbo funeral songs have a clear identifiable purpose because in them are expressed different phases of grief and they serve valuable purposes in the various Igbo communities where they are rendered.
{"title":"Igbo funeral songs: Exploring their major themes","authors":"Chinazor R. Okpokwasili, A. Nwamara","doi":"10.4314/janm.v16i1.13","DOIUrl":"https://doi.org/10.4314/janm.v16i1.13","url":null,"abstract":"Death, transition and other related terms are used by various human societies to communicate the ending of all formal functions and processes in the life of a living organism. When death occurs, it causes an emotional outburst which people express in forms of chants, recitations and dirges. In most parts of Africa, the death of an adult member of the society goes with the rendition of some songs in honour of the deceased and to contemplate on death as a natural phenomenon during the funeral. The Igbo of South Eastern Nigeria, through funeral, send off the deceased solemnly as she/he was welcomed at birth. The essence of this is captured in Igbo cosmic thought and in many funeral songs. Therefore, the focus of this paper is to identify some strands of meaning which most Igbo funeral songs convey and to also highlight their basic thematic constructs. The paper applied expository and analytical methods of research for data collection. It then observed that Igbo funeral songs have a clear identifiable purpose because in them are expressed different phases of grief and they serve valuable purposes in the various Igbo communities where they are rendered.","PeriodicalId":158516,"journal":{"name":"Journal of the Association of Nigerian Musicologists","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128039139","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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