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Structure and Function of Ìrègún Music in Yàgbàland As Gaps in Knowledge

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Structure and Function of Ìrègún Music in Yàgbàland As Gaps in Knowledge STRUCTURE AND FUNCTION OF ÌRÈGÚN MUSIC IN YÀGBÀLAND, KOGI STATE BY Olúségùn Stephen TITUS B.A. (Hons) Music (UNN), M.A (Hons.) Music (UNN) (MATRICULATION NUMBER: 142264) A THESIS SUBMITTED TO THE INSTITUTE OF AFRICAN STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY OF THE UNIVERSITY OF IBADAN FEBRUARY, 2013 CERTIFICATION I certify that this work was carried out by OLÚSÉGUN STEPHEN TITUS at the Institute of African Studies, University of Ibadan, under my supervision and approved as meeting the requirement for the award of Doctor of Philosophy in African Music. ……………………… …………………………………………… DATE Supervisor MOSÚNMÓLÁ A. OMÍBÍYÌ-OBIDIKE B. A., M. A., Ph.D (UCLA) Professor of Ethnomusicology Institute of African Studies University of Ibadan ii DEDICATION This work is dedicated to the King of kings, Lord of lords, giver of life and the Rock of Ages. It is also dedicated to my darling wife Pharmacist Rachel Olúwakémi Obonose Titus and our lovely daughters Deborah Iviavor Olúwaseun Titus and Damaris Olúsèyí Titus. iii ACKNOWLEDGEMENT Writing a thesis of this type can be a lonely and an isolating experience, yet it is impossible without the personal practical support of numerous people. I owe a great debt which certainly could not be repaid to all the people who have helped in making this experience worthwhile. The little best way I can at least acknowledge the contributions of some of the individuals is through this avenue. Firstly, my gratitude is devoted to my amiable Supervisor and Mentor: Professor Mosúnmólá A. Omíbíyì-Obidike. Your positive and counsel and guidance through subtleties of scholarly writings have assisted in no small way in successfully piloting this thesis to a safe destination. Your kindness in releasing your valuable scholarly materials for consultation is gratefully acknowledged. The fact that you were not financially mobilized by the University yet you carried on supervising me and other students shows your love and kindness. May the almighty God reward you abundantly. The unflinching support I received from Professor Isaac O. Albert, the Director of the Institute, Professor O. O. Láyìwola, Professor Agbaje-Williams, Dr. O. Oláoba, Dr. Titus Adékúnlé, Dr. Solá Ìsòlá, Dr. A. Fálétí, Dr I. Pogoson Dr. Ayò Adédùntán for providing some of his scholarly materials for this thesis. Formal Sub-dean of the Institute of African Studies and present Director of University Media Centre Dr. Solá Olórunyomí, and my own uncle, brother, friend and mentor, the present Sub-dean of the Institute of African Studies Dr. Káyòdé Samuel as well as members of non-teaching staff of the Institute remains unparalleled. I am grateful. I want to appreciate the contributions of my Internal/External Examiner Professor S. O. Oyetade. His scholarly suggestions and corrections made this work a better one. The contribution of my External examiner Professor T. Vidal cannot be over emphasized I am most grateful. I gratefully acknowledge the immense contributions received from IFRA Director Dr. Gerald Choun, Dr. Elodie, Mr. Manuel, Mr. Mbella, and IFRA fellows like Dr. T. J. Adams, James O, uncle Jimoh, uncle Philip, and host of others are worthy of mentioning. CBAAC staff cannot be easily forgotten, I want to specially thank the branch Director Dr. Onwuma for his encouragement during my program. I cannot forget the help rendered by Mr. Bello and Wale (the priest) who editing this thesis. I cannot forget in a moment my spiritual mentor Pastor iv Sesan Igunnu am most grateful for linking me up with some of the informant and thereby making the field wok easy for me to do. Worthy of note is the understanding and cooperation I received from my colleagues at Federal College of Education, Okene Kogi state, my place of work. I thank the College Provost Associate Professor Àjàyí Iyela, Deputy Provost Dr. Mrs Suleiman, Dean School of Arts and Social Sciences Mr. Chris Nwaneri, Head of Department, friend, brother Pastor and Mentor Dr. Ogli Godwin and Family. I want to thank Mr. Reuben Ìbídùn, Mr. Ayò Èkúnwálé, Pastor Omotosho Chris, Mr. Felix U., Mr. Uzoma I. Mr. Okonma Joseph, Mr. Udensi J. K and the only woman among us Mrs. Abdulahi Agatha. Other colleagues worthy of mentioning in the College include Dr. Okeowo, Dr. Agali, Dr. Momoh HOD English Department, Dr. Ene O. Former HOD General Studies, Hon. Dele Owa, Mr. Akogun, Pastor Suleiman Joseph (Manjoe), Mr. Friday a staff in the College library, and other staff of the college that have rendered one help or the other. The spiritual and moral assistance I received from Region Co-coordinator and other Associate Coordinators, brethren and leaders of DLCF Okene and Ibadan cannot be over emphasized. Worthy of mention is Dr. and Mummy Idafibia Nelson, Pastor Victor , Pastor Collins Ikharo, Pastor Chris Agulana and family, brother Frances. Thanks to all the DLCF and DLBC choir members in Okene and Ibadan for the prayers and encouragement. I want to thank Pastor Dr. Opateye and family, Pastor Dr. Ashamu and family, Bro Paul and all the members of Abutu District of DLBC. I cannot forget my region overseers, Pastor Iréwolé Raphael, Pastor Andrew Káyòdé Adéyemí, Pastor Felix Ayodele Okene, Kabba and Ijumu region overseers respectively. To all my family members extended and In-laws; late Mr. Ojo Titus Balogun my father, who recognised and encouraged my music career. Can I ever forget late Mrs. Sarah Alaba Titus- Balogun in a moment, mother in a thousand of women? My mother who helped me built my music career from primary school, I appreciate all your effort though you both died too young your product is representing you and your name here below. Blessing Titus, Dupe Bámidélé, Engineer and Mrs. Alaiyemola, Mr and Mrs. Yemisí Ade, Uncle Balógun Adéwùmí, Pastor Sunday Solomon and Family I say thank you. My loving in-laws Pastor and Lady Evangelist Bayodele Dirisu, Mr. and Mrs. Peter Dirisu, Mr. amd Mrs. Olusheye, Mr and Mrs. Zeb, JBJ, uncle Joe Dirisu Mr. and Mrs Lebile, Okikijesu, pastor Opeyemi Medaiyepin. I say thank you v all. My beloved friends and prayer partners are worthy of mentioning, they include, John Malik, Dele Agboola, Sunday Ojo, and Bro Kayode Afe, Sincere thanks are extended to my senior friends and course mates; Apostle and Mrs. Olorunsogo, Mrs. Bello Yomi, Babalola Sunday (Babs), Revd. Ibude A, Rótìmí, Babaniyi, Oyeniyi and the University of Ibadan Artist in Residence Mr. Tolu Owoaje. Others are; DR. Albert Okielome, Dr. Mrs. Sunbo Loko, Dr. Olugbenga Loko, Dr. Adeoluwa Okunade, Dr. Stephen Olusoji, and Dr.Aluede Charles. I appreciate specially the enduring and patience of Deborah Olúwaseun Iviavor and Damaris Olúsèyí (the two wonderful and lovely gifts from God to my wife and I), for your forbearance with Daddy, who many times will have to go and read over night in the University library and could not attend to you at the critical points of this work. To my precious gem, Pharmacist Rachel Titus who has always been by my side: I certainly cannot thank you enough, urging me to go on in the face of discouragement and offering continual support that fuelled my research engine. I love and truly appreciate you. Above all and most of all, my gratitude goes to the Almighty God, the giver and Sustainer of life. The grace, energy and favour with which this work was completed came from Him who is my all in all. I will remain grateful to you Lord Olúségun Stephen TITUS vi TABLE OF CONTENT Page Title page … … … … … … … … … … i Approval page … … … … … … … … … ii Dedication .. … … … … … … … … … iii Acknowledgement … … … … … … … … … iv Table of content … … … … … … … … … vii List of Tables … … … … … … … … … xiv List of plates … … … … … … … … … … xv List of maps … … … … … … … … … … xvii List of Charts … … … … … … … … … xviii Abstract … … … … … … … … … … xix CHAPTER ONE: GENERAL BACKGROUND OF STUDY 1.1 Introduction … … … …. … …. …. … … 1 1.2 Statement of` the Problem … … … … … … …. 2 1.3 Need and Justification for the Study … … … … … … 3 1.4 Aim and Objectives of the Study … … … … … … 4 1.5 Research Questions … … … … … … … … 4 1.6 Scope and Limitation of the Study … … … … … … 5 1.7 Significance of the Study … … … … … … … 5 1.8 Ethnography of Yagbaland … … … … … … … 6 1.9 Definition of Terms … … … … … … … … 14 Endnote … … … … … … … … … 15 CHAPTER TWO: THEORETICAL FRAMEWORK AND REVIEW OF LITERATURE 2.1 Introduction … … … … … … … … … 16 2.2 Theoretical Framework … … … … … … … 16 2.2.1 Socio-Cultural Theory … … … … … … … 16 2.2.2 Structural-Functionalism … … … … … … … 17 2.3 Literature Review … … … … … … … … 18 2.2.1 African Music: A Socio-cultural Expression … … … … … 19 2.2.2 Musical Structure in Africa … … … … … … … 21 2.2.3 The Composers and Performers of African Music … … … … 23 2.2.4 African Music Performance … … … … … … 26 2.2.4.1 Concept and Features of Chants Performance in Africa … … … 28 2.2.4.2 Concept and Features of Song Performance in Africa … … … 33 vii 2.2.4.3 Similarities and Differences in the Features of Chants and Songs … … 34 2.2.5 The Functions of African Music… … … … … … 35 2.2.6 Satire in African Music … … … … … … … 37 2.3 The Concepts of Iregun … … … … … … … 38 2.2.7 Conclusion … … … … … … … … … 39 Endnotes … … … … … … … … … 40 CHAPTER THREE: RESEARCH METHODOLOGY 3.0 Introduction … … … … … … … … … 41 3.1 Study Design and Approach … … … … … … 41 3.2 Study Population … … … … … … … … 41 3.3 Sampling Procedure … … … … … … … … 42 3.3.1 Pre-field Preparations … … … … … … … 42 3.3.2 Methods of data collection (Field Work) … … … … … 43 3.3.2.1 Observation … … …
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