Using the theory of remix with particular emphasis on the selective remix, this paper re-evaluates the concept of celebration in the Nigerian culture using the music, Osondi Owendi, originally sung by Osita Osadebe and remixed by Chinedu Okoli, (flavour).
Findings from the evaluation show that the concept of celebration amongst individuals in the society largely depends on choice as against the popular notion which has it that the life of the African is that of perpetual celebration. This lies in the fact that the motivation to celebrate in recent times is affected by occurrences in the society which are sometimes negative. Moreover, the choice to perpetually celebrate is made depending on life situations.
Thus, just like the western society, choice is also a value that should be respected and upheld. In view of the above, this paper recommends that the concept of choice should be highlighted as an important value. Again, considering the changing nature of the society, more modern artistes should adopt the indigenous forms of music and further use it to communicate the values that the Nigerian society hold in high esteem.
Table of Contents
Introduction
The Concept of Celebration in Africa: Music as an Ornament.
The Influence of Indigenous African Music on the African Modern Music: The Case of Highlife.
The Theory of Selective Remix
Methodology
An Explication of Osondi Owendi by Osita Osadebe and Flavour feat MC Loph
The Value of Choice
Conclusion
Research Objectives and Themes
This study re-evaluates the traditional notion of perpetual celebration in African culture by analyzing the song "Osondi Owendi" in both its original highlife version by Osita Osadebe and its modern remix by Chinedu Okoli (Flavour). It aims to demonstrate that celebration is fundamentally a matter of individual choice, influenced by personal circumstances and societal conditions, rather than an inherent, constant state of being for Africans.
- The role of music as a cultural ornament and a tool for social communication.
- The impact of globalization and hybridization on indigenous Nigerian music.
- Application of Selective Remix theory to analyze musical evolution and lyrical meaning.
- Critical Discourse Analysis of lyrics to uncover sub-surface meanings regarding societal norms.
- The shift of "celebration" from a collective tradition to an act of individual agency.
Excerpt from the Book
The Theory of Selective Remix
The theory of remix often referenced in popular culture derives from the model of music remixes which were produced around the late 1960s and early 1970s in New York City, though, an activity with roots in Jamaican music. Music remix in general is a reinterpretation of a pre-existing song, achieved through altering meaning, even though the aura of the original dominates the remixed version. Basically, remix is the activity of taking samples from pre-existing materials to combine them into new forms according to personal taste. It is created when a remixer get the stems and then alters them in terms of tempo, beats, effects etcetera to essentially create a new track. This suggests that when making a remix, the genre of the song can be drastically changed since there are literally no limits to creative options. The essence often times, is for the artiste to expand their fan base and further make it more accessible to the broader public.
Particularly, Navas (2012) defines selective remix as the processes of adding or subtracting material from the original song, containing new sections as well as new sounds, but with the intention of keeping the essence of the song intact. Simply put, the artistes take and add part of the original composition, while leaving its spectacular aura intact. The essence is to open up to a brand new market of listeners. Toeing in the same line, Hetcher (2009) defines selective remix as a new work produced by adding new parts to, and /or removing sections from an original. The sections tempered with often times are the language, (lyrics) as well as the beats. This method of remix has so much penetrated into culture that it has now become the norm for artistes. This theory shall be used in the explication of the songs, Osondi Owendi by Osita Osadebe and Flavour feat MC Loph, focusing on the language deployed as well as its content. This is with the sole aim of bringing to fore, the actual message communicated.
Summary of Chapters
Introduction: Provides the context of music as an essential cultural identity tool and introduces the research focus on the value of "choice" in Nigerian society.
The Concept of Celebration in Africa: Music as an Ornament.: Explores how music functions as a necessary component of African festivities, highlighting its role in documenting heritage and fostering communal happiness.
The Influence of Indigenous African Music on the African Modern Music: The Case of Highlife.: Examines the hybridization of music due to globalization, focusing on how modern artistes adapt traditional highlife elements to meet contemporary needs.
The Theory of Selective Remix: Defines the specific methodology of selective remix—retaining the essence of a song while altering its form—used to analyze the primary source material.
Methodology: Outlines the qualitative approach, primarily utilizing Critical Discourse Analysis (CDA) to interpret the sub-surface meanings of song lyrics.
An Explication of Osondi Owendi by Osita Osadebe and Flavour feat MC Loph: Compares the original composition with the remix, analyzing specific stanzas to illustrate differences in performance technique and lyrical emphasis.
The Value of Choice: Argues that in the face of modern challenges, celebration is an active, conscious decision rather than a passive cultural default.
Conclusion: Summarizes the study’s findings, reaffirming that the power of choice is a crucial individual value that must be respected to foster social peace.
Keywords
Culture, Music, Value, Celebration, Choice, Nigeria, Highlife, Selective Remix, Globalization, Critical Discourse Analysis, Identity, Hybridization, African Music, Social Norms, Agency
Frequently Asked Questions
What is the core focus of this research paper?
The paper focuses on re-conceptualizing the understanding of "celebration" within African culture by analyzing the song "Osondi Owendi" to highlight the importance of individual choice.
What are the central themes discussed in the work?
The central themes include the intersection of music and cultural identity, the hybridization of traditional African highlife music, and the sociological importance of human agency in choosing one's emotional and social states.
What is the primary research aim?
The aim is to challenge the popular notion that African life is one of perpetual, effortless celebration by demonstrating that choosing to celebrate is an active, conscious decision in contemporary society.
Which scientific methodology is employed?
The author uses a qualitative method, specifically employing Critical Discourse Analysis (CDA) to interpret the deeper, sub-surface meanings behind song lyrics and musical performance practices.
What topics are covered in the main body?
The main body details the evolution of highlife music, the technical definition and application of "selective remix" theory, and a direct analysis of the lyrics from both the original and remixed versions of "Osondi Owendi".
Which keywords best capture the essence of the work?
Key terms include Culture, Music, Choice, Celebration, Highlife, and Selective Remix, which collectively define the study's scope regarding modern African musical and cultural discourse.
How does the "selective remix" technique influence the perception of the original classic?
The author argues that selective remixing allows modern artistes to maintain the "spectacular aura" of the original work while making it accessible and relevant to a digital, globalized audience through new sounds and linguistic shifts.
What individual conclusion does the author reach regarding the "power of celebration"?
The author concludes that because celebration is a matter of choice, it must be respected as an individual value; therefore, one should not dictate how others express themselves, as this respect is essential for fostering peace in a divided society.
- Arbeit zitieren
- Ihuoma Okorie (Autor:in), 2022, Celebration as a Choice in Nigerian Indigenous and Modern Music, München, GRIN Verlag, https://www.grin.com/document/1248218
