Until very recently, Nigerian indigenous music was silenced by its Western counterpart, following westernisation, globalisation and attrition. Music is cultural. And all Nigerian cultures have their respective music. Despite the recent promotion, development and sustenance bids of several artists, scholars and concerned authorities, the teeming Nigerian masses are yet to be roused towards and properly educated, sensitised and re-oriented on and towards indigenous music. It is against the above backdrop that this study has emerged to call for a change in these regards. The paper maintains that it is imperative to properly, constantly and adequately promote, develop and sustain our indigenous music so as to project our indigenous music, create a place for it in the globalised Western hostile village, and allow for culture continuity and national development. Music unites people(s) and allows for the showcasing of cultural identity, ethos and aesthetics. Therefore, to duly tap from the potentials/prospects of indigenous music, it is imperative to incessantly promote, develop and sustain indigenous music in Nigeria and beyond. This study is anchored on music and indigenous wholistic theories that are most suitable for it, following its nature and pursuit. It relied on both primary and secondary sources of data collection. Oral interview, participant and non-participant observation, and induction formed the oral sources, while textual library materials like journals, textbooks, etc. formed the written, secondary, sources. The qualitative approach and the descriptive methods were employed.
Keywords: Imperative, Indigenous music, Developing, Promoting, Sustaining
Table of Contents
1. Introduction
2. Conceptualising Music
3. Perspectives on Nigerian Indigenous Music
4. Traditional Musical Instruments
5. Theoretical Framework
6. Indigenous Music Imperialism
7. Recommendation
Objectives and Research Focus
This study aims to address the critical erosion of Nigerian indigenous music caused by Westernization and globalization, advocating for its revival as a cornerstone of cultural identity and national development. It explores how traditional music serves as a vital repository of societal values and knowledge, calling for urgent policy interventions to sustain these heritage assets against the homogenizing effects of foreign influence.
- The imperative to promote, develop, and sustain indigenous Nigerian musical traditions.
- An analysis of music imperialism and the negative impact of Western cultural hegemony.
- The functional role of indigenous music in social, religious, and political spheres.
- Strategies for integrating traditional music into the modern education system and media landscape.
Excerpt from the Book
Perspectives on Nigerian Indigenous Music
Nigeria is known to have a rich musical history, tradition and culture. According to Nwokike in Mgbada (2005:84/5), in Nigeria, music is deeply a functional exercise, which is heavily inspired by religion, politics, sociology, economy and education. Nigerian music has great influence on the ethos of the people. Nigerian music and its derivatives possess such socio-cultural power that to make any meaningful progress in the future or execute long term development programmes, government must come to terms with the realities of culture power. According to him (Nwokike), Nigerian traditional music functions on three main levels:
i. As part of religious ritual,
ii. As an expression of social organisation and
iii. As recreation.
We add that besides his identified three functions of traditional music, the music also functions as:
i. Oral tradition and knowledge,
ii. A means of socialisation and communication,
iii. A source of cultural presentation, transmission, promotion, development and reservation,
iv. A career and source of income as well as job and wealth creation opportunities,
v. An aspect of Nigerian indigenous literature and
vi. A means of internal and external social (international) relations.
The rich musical tradition of Nigeria expresses and reflects both the social and ceremonial functions that are connected with life cycle and religious activities (Okorie, 2016:15). Vidal (2000:4) posits that the African is born, named, initiated into manhood, warriored [sic], housed, wedded and buried with music. Nigerians thus take the lead in this gesture (art). Several scholars have confirmed his position. Robert (2015) notes that music is part parcel of the Bekwarra, his people, one of the Nigerian nations in Northern/Upper Cross River (State). Gotau (2015) also states likewise about his people, the Ngas of Plateau State, whom, he said, cannot do without music in all their activities.
Chapter Summary
Introduction: This chapter highlights the erosion of Nigerian indigenous music due to Western influence and argues for the necessity of its promotion to ensure cultural continuity.
Conceptualising Music: This section provides definitions of music from various scholarly perspectives, emphasizing its role as an expression of identity and a vehicle for societal development.
Perspectives on Nigerian Indigenous Music: This chapter examines the functional roles of traditional music in Nigerian society, ranging from religious rituals to social and economic utility.
Traditional Musical Instruments: This section details the variety, classification, and symbolic significance of Nigerian musical instruments in both ritualistic and communicative contexts.
Theoretical Framework: This chapter introduces Music Theory and the Indigenous Wholistic Theory to provide an analytical lens for understanding the nature and mechanics of indigenous music.
Indigenous Music Imperialism: This chapter analyzes how Western hegemony and globalization have subjugated Nigerian music, leading to the endangerment of local traditions.
Recommendation: This final chapter offers policy-driven solutions for the government, media, and educational institutions to revitalize and sustain Nigerian indigenous music.
Keywords
Imperative, Indigenous music, Developing, Promoting, Sustaining, Globalization, Westernization, Culture, Music Imperialism, Nigeria, Heritage, Traditional Instruments, Socialization, Education, Cultural Identity.
Frequently Asked Questions
What is the fundamental premise of this research?
The study argues that Nigerian indigenous music is currently facing extinction due to Western influence and globalization, and asserts that it is an imperative task to promote and sustain it for the sake of cultural identity and national progress.
What are the primary thematic fields covered in this work?
The work covers themes such as cultural erosion, the functions of traditional music, musicology, the impact of imperialism on local arts, and the role of education and media in cultural preservation.
What is the core objective of the author?
The primary objective is to highlight the devastating effects of "music imperialism" and to call for an immediate shift in perspective among elites, government, and the media to actively protect and develop indigenous musical practices.
Which scientific methods were employed for this research?
The study utilizes a qualitative approach and descriptive methods, relying on both primary sources (oral interviews, participant and non-participant observation) and secondary sources (journals, textbooks, and library materials).
What content is addressed in the main body of the work?
The main body covers the conceptualization of music, perspectives on its role in Nigerian society, the classification of traditional instruments, a theoretical framework for musical analysis, and an examination of music imperialism.
Which keywords best characterize this publication?
Key terms include Indigenous music, Music Imperialism, Cultural Heritage, Globalization, Westernization, and National Development.
How do "dance patterns" contribute to the identity of Nigerian ethnic groups?
The author notes that dance patterns are intricately linked to cultural characteristics and political organization; thus, different tribes can be identified by their specific, culturally embedded dance movements like Close Dance, Stride Dance, or Leap Dance.
How does the author define "music imperialism"?
Music imperialism is defined as an osmotic influence where dominant Western cultures impose their musical styles on colonized nations, leading to the gradual subjugation and abandonment of indigenous musical traditions.
What role do traditional musical instruments play beyond aesthetic expression?
Beyond producing sound, these instruments serve communicative, symbolic, and ritualistic functions, such as signaling danger, announcing the presence of royalty, or facilitating religious worship.
- Citation du texte
- Odey Robert (Auteur), 2017, The Imperative of Promoting, Developing and Sustaining Indigenous Music in Nigeria, Munich, GRIN Verlag, https://www.grin.com/document/354538
