Àpàlà and Sákárà are Yorùbá musical genres whose origin has been traced to many sources by scholars. Some of these suggested that they are traditional folksongs while others claimed that they evolved from Islamic practice. In contemporary times, the genres have assumed socio-cultural and entertainment status. Aside from their intricate and danceable rhythms, Àpàlà and Sákárà are revered for their well-couched philosophical lyrics and their composers are regarded as wordsmith imbued with native wisdom. The paper examined the poetic content, the structure, derivation of themes, construction of poetic lines and their literary interpretation. It su...
In considering the music of Nigeria, its future and its past, it is essential that an appreciation o...
Nigerian musical practice can be divided into three categories for analysis: indigenous or tribal fo...
Nigeria stocks some amount of art music compositions for different media. Of these creative works vo...
This paper attempts an investigation of the creative processes of Nigerian music and the various gen...
In the 1960s, there were reports from post colonial West Africa of a somewhat unflinching loyalty to...
This paper defines the philosophical factors for evaluating the folk musical idioms among the Yorùbá...
Folk music in Nigeria evolved as a corporate communal experience. It has been sustained as such, and...
Popular songs, unlike „traditional‟ oral productions identified by anthropologists, literary agents ...
Phonaesthetics generally deals with the symbolic properties of sounds. Since most poets explore the ...
Despite the fact that musical idioms are compositionally efficacious in arousing aural imageries and...
The documentation of folk music in Nigeria has been an on-going process by Art music composers and h...
This paper discusses the thematic structure of Yoruba popular music of Southwest Nigeria. It examine...
Language is defined as “the system of sounds and words used by humans to express their thought...
Composing modern African art music from the African stock has drawn the attention of many African an...
Music is a universal language of mankind. It is also a product of the creative genius in man. Good m...
In considering the music of Nigeria, its future and its past, it is essential that an appreciation o...
Nigerian musical practice can be divided into three categories for analysis: indigenous or tribal fo...
Nigeria stocks some amount of art music compositions for different media. Of these creative works vo...
This paper attempts an investigation of the creative processes of Nigerian music and the various gen...
In the 1960s, there were reports from post colonial West Africa of a somewhat unflinching loyalty to...
This paper defines the philosophical factors for evaluating the folk musical idioms among the Yorùbá...
Folk music in Nigeria evolved as a corporate communal experience. It has been sustained as such, and...
Popular songs, unlike „traditional‟ oral productions identified by anthropologists, literary agents ...
Phonaesthetics generally deals with the symbolic properties of sounds. Since most poets explore the ...
Despite the fact that musical idioms are compositionally efficacious in arousing aural imageries and...
The documentation of folk music in Nigeria has been an on-going process by Art music composers and h...
This paper discusses the thematic structure of Yoruba popular music of Southwest Nigeria. It examine...
Language is defined as “the system of sounds and words used by humans to express their thought...
Composing modern African art music from the African stock has drawn the attention of many African an...
Music is a universal language of mankind. It is also a product of the creative genius in man. Good m...
In considering the music of Nigeria, its future and its past, it is essential that an appreciation o...
Nigerian musical practice can be divided into three categories for analysis: indigenous or tribal fo...
Nigeria stocks some amount of art music compositions for different media. Of these creative works vo...