Browsing by Author "Oluwatosin John Ibitoye"

Now showing 1 - 7 of 7
  • Thumbnail Image
    Item
    COGNITIVE APPRENTICESHIP IN INDIGENOUS BALUU AND KENGBE MUSICAL ARTS OF ILORIN PEOPLE IN KWARA STATE, NIGERIA
    (Society of Music Educators of Nigeria, 2021-12-15) Oluwatosin John Ibitoye
    Over time, different and divergent learning methods such as the Kodaly method (1941), Vygotsky's Zone of Proximal Development (ZPD) (1987), Gordon's Music Learning Theory (1989), Pratt's Apprenticeship Perspective (1998), McPherson's Self-Regulated Learning in Music Practice (2017) have been postulated by scholars and musicologists alike in relation to the learning and practice of music in formal education. However, little study has focused on learning and apprenticeship methods for indigenous musical arts and practice, partly due to the informal context of indigenous music arts and practice in most cases. Hence, this study interrogates cognitive apprenticeship in indigenous African musical arts using two indigenous music styles: Baluu and Kengbe of Ilorin people in Kwara State, Nigeria as examples. This study is underpinned with Cognitive Apprenticeship Theory and relied on ethnography as the design. Using oral interview and non-participant observation of learning process, training, rehearsals and band performances of Baluu and Kengbe musical arts, this study identifies the stages of learning, development and professional practice of the practitioners. Learning by imitation, rote, articulation, reflection, exploration and improvisational skills were methods of skill acquisition. The study therefore recommends cognitive instructional strategies as an effective model in learning and apprenticeship as it stimulates the thought process of trainees and cognitive skills such as problem solving, social charisma, human relations, improvisation, enquiry, self-expression and self-esteem are developed through this model.
  • Thumbnail Image
    Item
    FEMALE MUSICIANSHIP IN AFRICAN MUSIC STUDIES: BALUU AND KENGBE MUSIC OF ILORIN PEOPLE AS PARADIGMS
    (Society of Nigerian Theatre Artists (SONTA)., 2021-12-15) Oluwatosin John Ibitoye
    Over time, scholars and researchers in African music, culture and performance studies have raised opinions on the dearth of research and marginalisation of the female gender in African musicology. Hence, this study finds the need to fill this lacuna and bring studies on female musicianship in African music to the fore, using indigenous Baluu and Kengbe music of the Ilorin people as paradigms. Through the descriptive method, field observation of the performances of Iyabo Awero, a Baluu musician in Ilorin, Egbe Onikengbe of Magaji Nda family house in Ilorin, Kwara State and review of literatures, this study discovered that Baluu and Kengbe music are female oral musical arts unique to the cultural and social life of the Ilorin people. Through music, history is documented in their song texts and transferred orally to generations. These indigenous forms are entertaining yet didactic as they are used to chastise immoralities, indecency, indiscipline and other sociocultural issues. This study concludes that indigenous music is pivotal to the growth and development of a society. Women who are key players in indigenous African music performance such as Baluu and Kengbe musicians contribute a lot to the knowledge of indigenous cultural and social values.
  • Thumbnail Image
    Item
    Indigenous Music and Religion among Ilorin People of North Central Nigeria
    (Association of Nigerian Musicologists (ANIM), 2021) Oluwatosin John Ibitoye
    The diachronic realities of indigenous African culture (especially that of music) in the consciousness of rising modern popular culture calls for urgent attention. Hence, it is imperative for scholars and researchers to pay attention to the dwindling knowledge of culture. Against this backdrop, this study documents the indigenous music arts among Ilorin people of Kwara State in North Central, Nigeria. This ethnographic research relies on descriptive method, field observations of indigenous musicians in Ilorin and book reviews. This study reveals the influence of the Islamic religion on the indigenous musical arts in Ilorin vis-à-vis urbanization and modern culture as acceptance and popularity of the indigenous practices is reliant on the permeation of religion. Findings reveal the multifaceted functionalities of these indigenous styles and the issue of gender relativity in their musicianship. This study posits that, the syncretic effects of western culture, civilization, religion, the issue of culture change against the culture of restraint contributed to the evolution and emergence of new indigenous styles, thereby, sending old styles into oblivion. This study therefore recommends the need for more efficiency of designated centres and repositories of culture discussed in this study, in the bid to preserve music of the Ilorin people.
  • Thumbnail Image
    Item
    Societal realities in contemporary Nigerian popular music
    (Department of the Performing Arts, University of Ilorin, Ilorin, Nigeria, 2018-12-15) Oluwatosin John Ibitoye
    Societal realities have continued to be evident in thematic structures of music composition, performance and production. Hence, this study critically examines the societal realities in contemporary Nigerian popular music. The Structural functionalism theory foregrounds this study. This study adopts the content analysis and deductive methods of research, audio and video tape materials in the contemporary Nigerian popular music space were used for deductions and analyses based on their thematic content and structure. This study argues that contemporary Nigerian popular music portray the realities in our contemporary society to a large extent as the society inspired its production and this music subsequently goes on to influence the people (society) with its content, especially the youths. This study encourages the use of the contemporary popular music as a tool for fostering national development, mass education and cohesion rather than embracing promotion of social immoralities and disintegration.
  • Thumbnail Image
    Item
    The Influence of Popular Music on Sexual Violence in Nigeria
    (School of Creative and Performing Arts, Film and Media Studies, Kenyatta University, Nairobi, Kenya, 2022-12-19) Oluwatosin John Ibitoye
    In recent times, cases of sexual and gender-based violence (SGBV) such as rape, sexual assault and sexual harassment have risen exponentially in Nigeria and these call for urgent attention of stakeholders and sundry. On this backdrop, this study accesses the contribution, influence and impacts of music to this menace with the view of proposing a panacea to this moral decadence and inhumane culture which has crept into our social construct. Our arguments are discussed within the framework of Fredrickson and Robert’s Objectification theory (1997); a framework for understanding, researching, and intervening to improve women’s lives in a sociocultural context that sexually objectifies the female body and equates a woman’s worth with her body’s appearance and sexual functions. Through a critical review and analysis of the texts of selected songs from six (6) popular Nigerian musicians, our findings reveal the objectification of the women gender as a tool for sexual gratification, cheap marketing strategy, and proliferation of obscenity and immoral conducts in the society. Having been proven that the society is a product of its music, popular musicians therefore make the female gender vulnerable and susceptible to the rising sexual violence scourge in our society. For this reason, this study accentuates the need for appropriate government regulatory bodies to step up efforts in screening and censoring every music (audio and audiovisual) that goes into the media, with the aim of controlling and monitoring the distribution, exhibition and marketing of music especially that which promotes sexual content and the stereotype of a gender as sex tool.
  • Thumbnail Image
    Item
    The Musicality of Olu Obafemi’s Illuminations: Songs, Dances, from the Belly of Time as a Performance Poetry
    (National Theatre, Lagos, Nigeria and Alpha Crownes Publishing Ltd, Rochester, United Kingdom, 2021) Oluwatosin John Ibitoye
    Poetic compositions and its performative realities through music are in tandem. Hence, poetic compositions especially in Africa are best performed in sine qua non with music. Olu Obafemi‟s Illuminations: Songs, Dances, from the Belly of Time exemplifies a collection of poems embedded with musical aesthetics. Therefore, this study reviews and analyses selected poems in the collection from the perspective of a musicologist. This study reflects on the musical and realistic performance aesthetics of Illuminations: Songs, Dances, from the Belly of Time as illustrated by Olu Obafemi in his writing. This study reveals that, the collection is unarguably a performance poetry. The literary piece creates an ambience of different creative explorations for a willing music director. Obafemi draws his compositional tools, devices and materials in the collection from his immediate socio-cultural environment. The poetic lines create dramatic, historical and nostalgic images in the minds of readers which give a directorial clue for a holistic musical and artistic interpretation. This study concludes that the structure of the poems creates an atmosphere for experimental musical expression and it is best interpreted and enjoyed as a performance poetry.
  • Thumbnail Image
    Item
    The Performative Art of Iyabo Awero’s Indigenous Music “Baluu”
    (Department of Theatre and Performing Arts, Bayero University, Kano, Nigeria, 2020-08) Oluwatosin John Ibitoye
    Baluu Music is an indigenous secular music in Ilorin, Kwara state. This indigenous music genre is primarily for entertainment in Ilorin and its environs. This ethnomusicological research looks into the performative art of Baluu Music in Ilorin, Using Iyabo Awero’s live band which is domiciled in Ilorin, the Kwara State Capital as a case study. This study adopts the descriptive method of research. The participant-observation and interview tools were used for data gathering and the analyses is done from ethnomusicological perspective. This study also looks into other issues such as etymology of the word ‘Baluu’, the origin and historical development of this genre, performance norms and practices in Baluu music, musical analyses, indigenous forms and styles inherent in Baluu Music, Baluu Dance, Band ensemble, using Iyabo Awero’s live band as paradigm. This study discovers that the Baluu music genre is basically a female oral musical art while the male oral musical art usually regarded as a ‘brother’ to Baluu, is the Dadakuada music. Our study reveals further that, westernisation, modernisation and the influence of technology did not threaten the existence of the indigenous Baluu music. This is because, Baluu music encumbered acculturation and foreign influence in exception to the influence of Islam on the music. This study concludes that indigenous music as an art should not lose its penchant in the artistic and performance parlance. To this end, indigenous music forms would receive more global relevance.