Research Article
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Year 2020, , 248 - 261, 30.12.2020
https://doi.org/10.33906/musicologist.752422

Abstract

References

  • Adeola, Taiye. Shola. (2001). “Contemporary Nigerian popular music: A tool for national development”. Nigerian Theatre Journal. 6(1): 80-85
  • Asobele, Timothy J. (2002). Historical trends of Nigerian indigenous and contemporary music. Lagos: Rothmed International Ltd.
  • Ekwueme, Lazarus E.N. (2004). Essays on the Theory of African music. Lagos-Nigeria: LENAUS Publishing Ltd.
  • Emielu, Austin. (2011). “The ‘Culture’ of Highlife Music”. Ilorin Journal of Linguistics Literature & Culture, 2:127-141.
  • Fiofori, Tam. (May 7th 2011). “Defining Nigerian Popular music”, the Next Community Newspaper. Retrieved from www.nextcommunitynewspaper.com.
  • Nwoye, Chinwe M.A. (2011). “Igbo cultural and religious worldview: An insider’s perspective”. International Journal of Sociology and Anthropology, 3(9): 304-317.
  • Obi, Felix. (February 27th, 2005). “Whitter Nigerian Music?" Nigeria-world: Retrieved from www.naija.com 18th December, 2011.
  • Oikelome, Albert. (2001). Let’s Talk about African Music, Shomolu Lagos; Glorious Hope Publishers.
  • Oikelome, Albert. (2012), “Feminine gender as perceived in Nigerian hip-hop culture: A sociological analysis”. Music and Theatre Arts in Africa, Eds. Femi Shaka & Mosunmola A. Omibiyi-Obidike: pp. 210-218, Ojo Lagos: Centre for Information, Press and Public Relations, Lagos State University.
  • Okafor, Richard C. (1997). “The Emergence of Neo-Traditional Forms in Contemporary Church Music in Eastern Nigeria”, Music and Social Dynamics in Nigeria, Ed. Bode Omojola: pp. 126-140
  • Olatunji, Michael (2007). “Yabis: A Phenomenon in the Contemporary Nigeria Music”, The Journal of Pan African Studies, 1(9): 26-46
  • Olusoji, Stephen. (2011). “A discourse on the creative output of contemporary Nigerian musicians and their Place in the Global Community”, Lagos Notes and Records, 17: 219-226.
  • Omibiyi-Obidike, Mosunmola A. (2012). “Contemporary Popular Music in Nigeria”, Music and Theatre Arts in Africa, Eds. Femi Shaka & Mosunmola.A. Omibiyi-Obidike: pp. 4-14, Ojo Lagos: Centre for Information, Press and Public Relations, Lagos State University.
  • Omojola Bode. (2006). Popular Music in Western Nigeria; Nigerian Themes, Styles and Patronage System, Ibadan: IFRA.
  • Osigwe, Chinedum Nathan (2016). “Musicological Analysis of Igbo Popular Music (1960-2010)”. Ph. D Dissertation, University of Lagos, Akoka: Nigeria.
  • Scaruffi, Piero. (2003). “A Brief History of African Popular Music”, History of Popular Music, Retrieved from www.scaruffi.com 18th September 2016.
  • Trant Jennifer. (2009). “Studying Social Tagging and Folksonomy: A Review and Framework”, Journal of Digital Information, 10(1): 3-42.
  • Vidal, Augustine. (2012). From Classics to Pops: The Africanization of Western Institution. Paper presented at the Lagos State University, Ojo, Nigeria. 12th August, 2012.

Igbo Popular Music: A Historical and Sociological Discourse with the Intent of Redefining Its Musical Typologies Since 1960

Year 2020, , 248 - 261, 30.12.2020
https://doi.org/10.33906/musicologist.752422

Abstract

In Nigeria, music making has been the most dynamic and evolving process, involving all forms of musical genres - traditional, religious and popular. Music does have a significant cultural and sociological role, especially among its many ethnic groups, whereby it is employed in every facet of their socio-cultural existence, from childhood to adulthood respectively. This study examines the Igbo popular musical genre in Nigeria through its creative forms (highlife and other hybridized forms), exhibited within the period from 1960 up to the present. The main objective of this study is to capture all musical typologies within the period stipulated and tag them, using socio-cultural parameters, such as language, age, group philosophy, musical form, etc. It adopted descriptive and socio-musicological approaches in evaluating the musical trends through periodized format and also using the socio tagging system as its conceptual framework. The following musical typologies (Égwú Nñùtá, Égwú Ìkwǫkìlìkwǫ, Ēgwū Ọ̀gbàrà-ọ̄fūù, and Égwú A gwàrà ǫgwa) were, however, discovered and tagged appropriately in the course of the study for easy reference, recognition, and for ethnic identity.

References

  • Adeola, Taiye. Shola. (2001). “Contemporary Nigerian popular music: A tool for national development”. Nigerian Theatre Journal. 6(1): 80-85
  • Asobele, Timothy J. (2002). Historical trends of Nigerian indigenous and contemporary music. Lagos: Rothmed International Ltd.
  • Ekwueme, Lazarus E.N. (2004). Essays on the Theory of African music. Lagos-Nigeria: LENAUS Publishing Ltd.
  • Emielu, Austin. (2011). “The ‘Culture’ of Highlife Music”. Ilorin Journal of Linguistics Literature & Culture, 2:127-141.
  • Fiofori, Tam. (May 7th 2011). “Defining Nigerian Popular music”, the Next Community Newspaper. Retrieved from www.nextcommunitynewspaper.com.
  • Nwoye, Chinwe M.A. (2011). “Igbo cultural and religious worldview: An insider’s perspective”. International Journal of Sociology and Anthropology, 3(9): 304-317.
  • Obi, Felix. (February 27th, 2005). “Whitter Nigerian Music?" Nigeria-world: Retrieved from www.naija.com 18th December, 2011.
  • Oikelome, Albert. (2001). Let’s Talk about African Music, Shomolu Lagos; Glorious Hope Publishers.
  • Oikelome, Albert. (2012), “Feminine gender as perceived in Nigerian hip-hop culture: A sociological analysis”. Music and Theatre Arts in Africa, Eds. Femi Shaka & Mosunmola A. Omibiyi-Obidike: pp. 210-218, Ojo Lagos: Centre for Information, Press and Public Relations, Lagos State University.
  • Okafor, Richard C. (1997). “The Emergence of Neo-Traditional Forms in Contemporary Church Music in Eastern Nigeria”, Music and Social Dynamics in Nigeria, Ed. Bode Omojola: pp. 126-140
  • Olatunji, Michael (2007). “Yabis: A Phenomenon in the Contemporary Nigeria Music”, The Journal of Pan African Studies, 1(9): 26-46
  • Olusoji, Stephen. (2011). “A discourse on the creative output of contemporary Nigerian musicians and their Place in the Global Community”, Lagos Notes and Records, 17: 219-226.
  • Omibiyi-Obidike, Mosunmola A. (2012). “Contemporary Popular Music in Nigeria”, Music and Theatre Arts in Africa, Eds. Femi Shaka & Mosunmola.A. Omibiyi-Obidike: pp. 4-14, Ojo Lagos: Centre for Information, Press and Public Relations, Lagos State University.
  • Omojola Bode. (2006). Popular Music in Western Nigeria; Nigerian Themes, Styles and Patronage System, Ibadan: IFRA.
  • Osigwe, Chinedum Nathan (2016). “Musicological Analysis of Igbo Popular Music (1960-2010)”. Ph. D Dissertation, University of Lagos, Akoka: Nigeria.
  • Scaruffi, Piero. (2003). “A Brief History of African Popular Music”, History of Popular Music, Retrieved from www.scaruffi.com 18th September 2016.
  • Trant Jennifer. (2009). “Studying Social Tagging and Folksonomy: A Review and Framework”, Journal of Digital Information, 10(1): 3-42.
  • Vidal, Augustine. (2012). From Classics to Pops: The Africanization of Western Institution. Paper presented at the Lagos State University, Ojo, Nigeria. 12th August, 2012.
There are 18 citations in total.

Details

Primary Language English
Subjects Music
Journal Section Articles
Authors

Chinedum Osinigwe 0000-0003-2101-1916

Publication Date December 30, 2020
Published in Issue Year 2020

Cite

APA Osinigwe, C. (2020). Igbo Popular Music: A Historical and Sociological Discourse with the Intent of Redefining Its Musical Typologies Since 1960. Musicologist, 4(2), 248-261. https://doi.org/10.33906/musicologist.752422