Dr. Bamidele Vincent OMOLAYE is a Senior Lecturer in the Department of Music, Obafemi Awolowo University, Ile-Ife, Nigeria. His research activities in Nigerian Popular Music, Ethnomusicology and Cultural studies unravels the socio-cultural imports of African Music, viz-a-viz, it concepts, contexts, contents and concord to the world at large. Phone: +2348033754812 Address: Department of Music, Faculty of Arts, Obafemi Awolowo University Ile-Ife Nigeria
Ife Journal of the Humanities and Social Studies (IJOHUSS) 3(2), 1-13, 2016
From the early 1990, Jùjú music has continued to experience tremendous changes in concept, practi... more From the early 1990, Jùjú music has continued to experience tremendous changes in concept, practice and instrumental delivery. This is due to the performance flexibility and artistic creativity of the musicians in meeting the audience's taste and satisfaction. The author traces the history of Jùjú music and examined its developmental changes with regards to hybridisation of some musical instruments and materials both traditional and Western, used in Shina Peters' style of Jùjú music. In this regard, the study employs both the historical and descriptive methods to identify factors that have influenced his style of music. Hence, recorded albums of Shina Peters' Ace (Afro-Jùjú Series 1) and Shinamania (Afro-Jùjú Series 2) are analysed with a view to justifying his contributions to the development of the genre. The results, inter alia, show that the emergence of Shina Peters' style which is the fusion of Afro (Afro-beat) and Jùjú has restructured the performance practice of the genre and also made exploration, specifically, among young Jùjú musicians of today to become inevitable. In spite of the application of some Western musical instruments in the performance of Shina Peters, the study concludes that the originality and characteristic traits of his style of Jùjú music remain essentially a Nigerian popular music genre.
One of the most successful dance music of the Yoruba people of the Southwest Nigeria is Jùjú musi... more One of the most successful dance music of the Yoruba people of the Southwest Nigeria is Jùjú music. This genre has continued to enjoy patronage among the lower and middle classes, as well as the elites. The trend in which Jùjú is performed specifically among young musicians of today, premised on the practice which this study refers to as eclectic Jùjú style. The paper, therefore, examines this practice in Abiodun Awesola (Awesome tones' band)'s live performance and its synchronization within the performance practice in which Jùjú music is known. This is with a view to establishing this practice as a recurrent medium of combining diverse genres in a live performance within the ambience of Jùjú music. The study employs oral interview and participant observation method, while relevant books, journal articles and the Internet were also consulted. Data collected were analysed through descriptive method. Findings show that people (both young and old) tend to enjoy this practice especially during ceremonies, as it serves as a reminder of historical events which took place when such music played was released. The study also shows this practice, as a means for satisfying the audiences with varieties of genres in a live performance within the purview of Jùjú being a panegyric and commemorative music. The study concludes that in spite of the fusion of these diverse genres for the enjoyment of its enthusiasts, the traits with which Jùjú music is known remain a dominant factor in its performance delivery.
Journal of African Arts & Culture 4(2), 17-33, 2020
Ogori is a small community in Kogi State, Nigeria. The people are known for the annual celebratio... more Ogori is a small community in Kogi State, Nigeria. The people are known for the annual celebration of Ovia-Osese festival where Òkítóròkò music is performed. Several studies have been carried out on Òkítóròkò music. However, little attention has been paid to the organisational structure and performance practices of the music, which is imperative to the rite of passage of the maidens. This study intends to fill the gap with a view to exploring the organisational structure of the performing group, performance practices of the music and its cultural sensibilities during the rite of passage of the maidens. In-depth oral interview with seven purposively selected members of the Òkítóròkò musical group was employed. Findings show that, though, the performance of Òkítóròkò music started as a spontaneous activity among aged women at the inception of the Ovia-Osese festival; it has become an organised musical performance. It also reveals that the Iyiodina (the custodian of the initiation rite) is in charge of the musical group, while members cut-across the five clans of the community namely; Adubane, Okibo, Oshobane, Opowo and Eni. The paper concludes that the peculiarity of the Òkítóròkò musical group and the performance practices of the music promote the cultural ingenuity and indigenous prowess of the Ogori people to the globe. This is why the paper recommends that adequate attention should be given to the musical practices of the Ogori so that people can learn about the rich cultural heritage of the community.
African popular music may be fraught with contradictions but what has remained uncontested is the... more African popular music may be fraught with contradictions but what has remained uncontested is the energy and diversity of the musical practices. Music generally, performs momentous roles in restructuring the society into a lively atmosphere. Today, musical instruments and styles have provided the basis for popular music in Nigeria such as Àpàlà, a percussive based style which was developed in the late 1930s among the Yoruba people of Southwest Nigeria. This study traces its etymology, origin and developments. The paper also investigated into its exponents whose names were documented. It also examined the role of African popular music as agent of change, specifically in Nigeria. The study employs both descriptive and historical methods to assess the developmental changes that have occurred in the performance practice of Àpàlà. More so, recordings of prominent pioneers of Àpàlà were collected and analyzed within the ethnomusicological framework. Findings about the music revealed that the musical instruments used by the pioneer performers from its inception were still active till date. The study also revealed that modernization has continued to influence the performance practice of Àpàlà music through the fusion of some western musical instruments into the genre. Yet, the effect of the originality and identity of Africanism lingers on the musical performance context, content and concept. Thus, the musicians have been able to maintain equilibrium without total obliterate of the entire traditional musical instruments which holds the identity and originality of the music. The study concluded that evolution of new idioms in Nigeria music should be seen as acculturation and synergy that would lead to a new horizon.
JOURNAL OF THE ASSOCIATION OF NIGERIAN MUSICOLOGISTS (JANIM), 2016
This paper investigates the origin of Ovia-Osese festival and examines the role of Òkítòròkò musi... more This paper investigates the origin of Ovia-Osese festival and examines the role of Òkítòròkò music during the festival with a view to justifying its importance during the rite of passage of the maidens and to showcase the music as cultural identity of the Ogori people. The study employed in-depth interview with Oba Timothy Odukere Alabi (The Ologori elect of Ogori), the Iyiodina (Custodian of the tradition) of Ogori, while five (5) purposively selected members of Òkítòròkò musical group were also interviewed. Participant observation and documentation of audiovisual recordings and photographs of performances both musical and non-musical activities were made. Review of relevant literature such as books, journal articles, magazines and the Internet were consulted as secondary sources. Data collected were analysed using a descriptive method. Findings show that the spiritual value of the music is embedded in the consequences that befell those who failed to perform the traditional rite as custom demands among the maidens of the community, vis a viz those that performed it. Role played by this music in disseminating information with regards to the culture and tradition of the community is revealed. The study concludes that Òkítóròkò music is indispensable for the promotion of moral chastity among the maidens of Ogori. It is recommended that the contextual and conceptual values of the music be more emphasized to the world at large.
Ife Journal of the Humanities and Social Studies (IJOHUSS) 3(2), 1-13, 2016
From the early 1990, Jùjú music has continued to experience tremendous changes in concept, practi... more From the early 1990, Jùjú music has continued to experience tremendous changes in concept, practice and instrumental delivery. This is due to the performance flexibility and artistic creativity of the musicians in meeting the audience's taste and satisfaction. The author traces the history of Jùjú music and examined its developmental changes with regards to hybridisation of some musical instruments and materials both traditional and Western, used in Shina Peters' style of Jùjú music. In this regard, the study employs both the historical and descriptive methods to identify factors that have influenced his style of music. Hence, recorded albums of Shina Peters' Ace (Afro-Jùjú Series 1) and Shinamania (Afro-Jùjú Series 2) are analysed with a view to justifying his contributions to the development of the genre. The results, inter alia, show that the emergence of Shina Peters' style which is the fusion of Afro (Afro-beat) and Jùjú has restructured the performance practice of the genre and also made exploration, specifically, among young Jùjú musicians of today to become inevitable. In spite of the application of some Western musical instruments in the performance of Shina Peters, the study concludes that the originality and characteristic traits of his style of Jùjú music remain essentially a Nigerian popular music genre.
One of the most successful dance music of the Yoruba people of the Southwest Nigeria is Jùjú musi... more One of the most successful dance music of the Yoruba people of the Southwest Nigeria is Jùjú music. This genre has continued to enjoy patronage among the lower and middle classes, as well as the elites. The trend in which Jùjú is performed specifically among young musicians of today, premised on the practice which this study refers to as eclectic Jùjú style. The paper, therefore, examines this practice in Abiodun Awesola (Awesome tones' band)'s live performance and its synchronization within the performance practice in which Jùjú music is known. This is with a view to establishing this practice as a recurrent medium of combining diverse genres in a live performance within the ambience of Jùjú music. The study employs oral interview and participant observation method, while relevant books, journal articles and the Internet were also consulted. Data collected were analysed through descriptive method. Findings show that people (both young and old) tend to enjoy this practice especially during ceremonies, as it serves as a reminder of historical events which took place when such music played was released. The study also shows this practice, as a means for satisfying the audiences with varieties of genres in a live performance within the purview of Jùjú being a panegyric and commemorative music. The study concludes that in spite of the fusion of these diverse genres for the enjoyment of its enthusiasts, the traits with which Jùjú music is known remain a dominant factor in its performance delivery.
Journal of African Arts & Culture 4(2), 17-33, 2020
Ogori is a small community in Kogi State, Nigeria. The people are known for the annual celebratio... more Ogori is a small community in Kogi State, Nigeria. The people are known for the annual celebration of Ovia-Osese festival where Òkítóròkò music is performed. Several studies have been carried out on Òkítóròkò music. However, little attention has been paid to the organisational structure and performance practices of the music, which is imperative to the rite of passage of the maidens. This study intends to fill the gap with a view to exploring the organisational structure of the performing group, performance practices of the music and its cultural sensibilities during the rite of passage of the maidens. In-depth oral interview with seven purposively selected members of the Òkítóròkò musical group was employed. Findings show that, though, the performance of Òkítóròkò music started as a spontaneous activity among aged women at the inception of the Ovia-Osese festival; it has become an organised musical performance. It also reveals that the Iyiodina (the custodian of the initiation rite) is in charge of the musical group, while members cut-across the five clans of the community namely; Adubane, Okibo, Oshobane, Opowo and Eni. The paper concludes that the peculiarity of the Òkítóròkò musical group and the performance practices of the music promote the cultural ingenuity and indigenous prowess of the Ogori people to the globe. This is why the paper recommends that adequate attention should be given to the musical practices of the Ogori so that people can learn about the rich cultural heritage of the community.
African popular music may be fraught with contradictions but what has remained uncontested is the... more African popular music may be fraught with contradictions but what has remained uncontested is the energy and diversity of the musical practices. Music generally, performs momentous roles in restructuring the society into a lively atmosphere. Today, musical instruments and styles have provided the basis for popular music in Nigeria such as Àpàlà, a percussive based style which was developed in the late 1930s among the Yoruba people of Southwest Nigeria. This study traces its etymology, origin and developments. The paper also investigated into its exponents whose names were documented. It also examined the role of African popular music as agent of change, specifically in Nigeria. The study employs both descriptive and historical methods to assess the developmental changes that have occurred in the performance practice of Àpàlà. More so, recordings of prominent pioneers of Àpàlà were collected and analyzed within the ethnomusicological framework. Findings about the music revealed that the musical instruments used by the pioneer performers from its inception were still active till date. The study also revealed that modernization has continued to influence the performance practice of Àpàlà music through the fusion of some western musical instruments into the genre. Yet, the effect of the originality and identity of Africanism lingers on the musical performance context, content and concept. Thus, the musicians have been able to maintain equilibrium without total obliterate of the entire traditional musical instruments which holds the identity and originality of the music. The study concluded that evolution of new idioms in Nigeria music should be seen as acculturation and synergy that would lead to a new horizon.
JOURNAL OF THE ASSOCIATION OF NIGERIAN MUSICOLOGISTS (JANIM), 2016
This paper investigates the origin of Ovia-Osese festival and examines the role of Òkítòròkò musi... more This paper investigates the origin of Ovia-Osese festival and examines the role of Òkítòròkò music during the festival with a view to justifying its importance during the rite of passage of the maidens and to showcase the music as cultural identity of the Ogori people. The study employed in-depth interview with Oba Timothy Odukere Alabi (The Ologori elect of Ogori), the Iyiodina (Custodian of the tradition) of Ogori, while five (5) purposively selected members of Òkítòròkò musical group were also interviewed. Participant observation and documentation of audiovisual recordings and photographs of performances both musical and non-musical activities were made. Review of relevant literature such as books, journal articles, magazines and the Internet were consulted as secondary sources. Data collected were analysed using a descriptive method. Findings show that the spiritual value of the music is embedded in the consequences that befell those who failed to perform the traditional rite as custom demands among the maidens of the community, vis a viz those that performed it. Role played by this music in disseminating information with regards to the culture and tradition of the community is revealed. The study concludes that Òkítóròkò music is indispensable for the promotion of moral chastity among the maidens of Ogori. It is recommended that the contextual and conceptual values of the music be more emphasized to the world at large.
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Papers by Bamidele Omolaye (Ph.D)