ADEBAYO OLUDARE OGUNYEMI | Mountain Top University (original) (raw)
Papers by ADEBAYO OLUDARE OGUNYEMI
IGWEBUIKE: An African Journal of Arts and Humanities (IAAJAH), 2020
Traditional music is central to the lives of the Yorùbá people. This genre of music is constantly... more Traditional music is central to the lives of the Yorùbá people. This genre of music is constantly being challenged by emerging trends in musical arts in the Yorùbá states of the South Western Nigeria. It has continued to writhe under the stress of urbanization and globalization. The challenge of upholding this waning musical tradition falls on the surviving socio-political institutions. This paper therefore, examines the Gb du traditional music of the of p people of Lagos State. The article examines the sound, the structural patterns and other extraneous content of this particular traditional drums as performed in p land. Exploring ethnomusicological approach, the study relies on archival and ethnographic sources for its methodology. The article employs as research instruments, focus group discussion, key informant interview, non-participants' observation methods to elicit data. This article aims at bringing into focus critical perspectives of traditional music of the Yorùbá people. Primary data for the article were collected from the palace of Olú of p , a prominent and ancient Yorùbá town in Lagos state, South West Nigeria. This article concludes that efforts need to be made by concerned authorities to promote Yoruba traditional music and preserve it from going into extinction.
Ihafa: A Journal of African Studies, Department of Linguistics, African & Asian Studies University of Lagos, Nigeria, 2018
Iga Ìdúnùngánrán which literarily means the palace sited beside the pepper farm is the traditiona... more Iga Ìdúnùngánrán which literarily means the palace sited beside the pepper farm is the traditional name of the palace of the paramount ruler of Lagos, Nigeria. This study examines the musical practises in the palace with a view of analysing the content and the context of musical performance. Exploring an ethnomusicological approach, the paper relies on archival and ethnographic sources for its methodology. Data for this study were collected using the Focus Group discussion method, Interview method and Participants Observation method. Performances of different typologies were observed at the palace. The lead palace musicians were interviewed alongside their troupe. Focus group discussions was organised among the various ensemble leaders in the palace. Emphasis was laid on discovering, if any, foreign influences in the music with a view of identifying the source of the influence. Discussions in the paper were focused towards ensuring the continuity of the arts. The musical forms and styles are notated both for preservation and possible performance. This will also enhance further research and creative analysis of the works. There is lack of attention for this particular genre of traditional music and as a result of which it influences are been eroded away.
Journal of Humanities, Management and Social Science (MTU- JHUMASS), 2019
This paper takes a retrospective look at the development of the business of musical arts in the c... more This paper takes a retrospective look at the development of the business of musical arts in the country. The paper chronicles the history of music art in the theater from pre-colonial era to the present day with a view of understanding the importance and challenges confronting the industry in the area of personal management and thereby offering a leeway. It focuses on the popular music genre, examines the place of artists' business in the new world of digital music and what it portends for a developing industry in third world country. The paper employs ethnographic and bibliographic approach for its methodology. Discussions in the paper were focused toward enhancing the orientations of the practitioners in this sub sector of the industry. It also intends to inspire the urge for the revival of the sub-sector in a way to attract resourceful stakeholders and constituted authorities who can legislate on this segment of musical arts. The study will also enhance further research and creative analysis of the sub-sector. There is lack of attention for this particular sector of art business and as a result of which it influences are been eroded
Books by ADEBAYO OLUDARE OGUNYEMI
Women Play Sing the Earth - Music and Women , 2021
The photograph on the cover of the book belongs to Ayten Şenaşık, known as Deli(crazy) Ayten, one... more The photograph on the cover of the book belongs to Ayten Şenaşık, known as Deli(crazy) Ayten, one of the Kambers of Bursa, in other words, a Roman/Gypsy citizen. The first year I came to Bursa (2014), when I saw the statue of Deli Ayten in the garden of the Çalgıcılar Mektebi (Musicians' School), located in the Kamber neighborhood where Romans lived in previous years, I immediately researched his story, talked to those who saw his last years and tried to understand. The reason why I put it on the cover of this book is because of how the identity of woman shapes other identities. Because she is a representative subject with her never-ending the Cümbüş and Drum.
Deli Ayten, with her colorful bags in one hand and her drum and Cümbüş instrument in the other, carried the Romanian woman identity on her back. Despite her family's disapproval, her marriage to Cümbüş Hasan, whom she fell in love with, came to an end after her husband's addiction to alcohol, leaving Ayten, and then her death. Losing her mind because of this, Ayten carries the difficulties of life peculiar to women and the instruments in her hands entrusted by her husband for years.
While the roles that societies assign to women vary, it is much more possible to dance and sing among Romans, rather than the presence of women playing instruments whom we know that music is at the center of their lives. Ayten losing her mind, her bags and instruments are the ones that stay in her mind the most. Because only a woman who has lost her mind can walk around with music instruments in her hands. Ayten Şenaşık, who has become the symbol of the Kambers community with her female identity and “otherness” Roman identity at the point of “otherness” female identity in various dimensions in different societies, also stands before us as the output of roles based on her gender in the society she belongs to.
At this point it should be noted that, in gender relationships next to arguments of the dominant structure (patriarchal) gender-based othering brings with itself distinctive living practices. We can clearly observe extensions of the said living practices in idea and artistic productions just like in every area of social life. Since the 1970’s fight against insufficient information on women and social constructions produced by women that are at the center of the said gender othering found place in basic pursuits of ethnomusicology and performance arts just like all areas of social sciences with the influence of feminist movement. The requirement to make detections about women in every area is sourced from gender-based othering that is in traditional social structure as well as in modern and postmodern social structures while musical productions of women who became a disadvantageous group in social structure patterns reveal the need to approach their ways of appearance in daily and special rituals with their musical performances through various layers. “Women identity in society” as one of the most important factors in gender- based research will be the main focus of the book.
While Özgecan Karadağlı, who had important points with her article named Slavery, Power, and Music in the Ottoman İmperial, Ioana Baalbaki, the writer of Emilia Comişel and Her Contribution to Romanian Ethnomusicology takes Emilia Comişel which is just left behind 75 years of working on Ethnomusicology of Romania and her works in hand comparatively.
Virginia Sánchez Rodríguez ise, Is Piano Playing a Woman’s Matter? Female Musical Performance in The Spanish Cinema (1939-1975) konusu ile an approach to female musicians in the Spanish cinema in the middle of the 20th century is proposed, specifically during the Franco Regime (1939-1975).
On the other hand, While Mohamed Haseeb studies historical files and field work of women’s role on Kattu Pattu which is a result of the social and economic circumstances of 1970’s in the society of Mapila, Also Báyò Ògúnyemí intends to detail the place of Yorùbá women in the social organization of the Yorùbá society by using their musical arts under the title of Women, Music Ensemble, and the Social Structure of Traditional Yorùbá Society. Pătraş Andra Daniela, Ileana Szenik: A Subjective Approach of Her Work from the Volumes Traditional Carol in Transylvania - Musical Typological Catalogue.
All writing is also presented on Women Play/Sing the Earth- Music and Women symposium which has been orginised by Society of Ethnomusicology at May,2021 and re-edited for the book. I also like to add that the only article that had not presented on the aforementioned symposium, is the one named Is Being the Women Conductor At The Tip Of The Gendered Baton Better Than Being At The Tip Of The Barrel? Thinking of The Afgan Orchestra Conductor which is written by me.
You can access the visiual and auditory files which were used on their presentation by the writers from the link below https://www.youtube.com/channel/UCDt-PzrTDXGdQYXjrdyVEzg/videos
I wish this work will contributes the field and its interested ones. A big thank you to our writers for their hardwork.
Prof. Dr. Özlem DOĞUŞ VARLI
IGWEBUIKE: An African Journal of Arts and Humanities (IAAJAH), 2020
Traditional music is central to the lives of the Yorùbá people. This genre of music is constantly... more Traditional music is central to the lives of the Yorùbá people. This genre of music is constantly being challenged by emerging trends in musical arts in the Yorùbá states of the South Western Nigeria. It has continued to writhe under the stress of urbanization and globalization. The challenge of upholding this waning musical tradition falls on the surviving socio-political institutions. This paper therefore, examines the Gb du traditional music of the of p people of Lagos State. The article examines the sound, the structural patterns and other extraneous content of this particular traditional drums as performed in p land. Exploring ethnomusicological approach, the study relies on archival and ethnographic sources for its methodology. The article employs as research instruments, focus group discussion, key informant interview, non-participants' observation methods to elicit data. This article aims at bringing into focus critical perspectives of traditional music of the Yorùbá people. Primary data for the article were collected from the palace of Olú of p , a prominent and ancient Yorùbá town in Lagos state, South West Nigeria. This article concludes that efforts need to be made by concerned authorities to promote Yoruba traditional music and preserve it from going into extinction.
Ihafa: A Journal of African Studies, Department of Linguistics, African & Asian Studies University of Lagos, Nigeria, 2018
Iga Ìdúnùngánrán which literarily means the palace sited beside the pepper farm is the traditiona... more Iga Ìdúnùngánrán which literarily means the palace sited beside the pepper farm is the traditional name of the palace of the paramount ruler of Lagos, Nigeria. This study examines the musical practises in the palace with a view of analysing the content and the context of musical performance. Exploring an ethnomusicological approach, the paper relies on archival and ethnographic sources for its methodology. Data for this study were collected using the Focus Group discussion method, Interview method and Participants Observation method. Performances of different typologies were observed at the palace. The lead palace musicians were interviewed alongside their troupe. Focus group discussions was organised among the various ensemble leaders in the palace. Emphasis was laid on discovering, if any, foreign influences in the music with a view of identifying the source of the influence. Discussions in the paper were focused towards ensuring the continuity of the arts. The musical forms and styles are notated both for preservation and possible performance. This will also enhance further research and creative analysis of the works. There is lack of attention for this particular genre of traditional music and as a result of which it influences are been eroded away.
Journal of Humanities, Management and Social Science (MTU- JHUMASS), 2019
This paper takes a retrospective look at the development of the business of musical arts in the c... more This paper takes a retrospective look at the development of the business of musical arts in the country. The paper chronicles the history of music art in the theater from pre-colonial era to the present day with a view of understanding the importance and challenges confronting the industry in the area of personal management and thereby offering a leeway. It focuses on the popular music genre, examines the place of artists' business in the new world of digital music and what it portends for a developing industry in third world country. The paper employs ethnographic and bibliographic approach for its methodology. Discussions in the paper were focused toward enhancing the orientations of the practitioners in this sub sector of the industry. It also intends to inspire the urge for the revival of the sub-sector in a way to attract resourceful stakeholders and constituted authorities who can legislate on this segment of musical arts. The study will also enhance further research and creative analysis of the sub-sector. There is lack of attention for this particular sector of art business and as a result of which it influences are been eroded
Women Play Sing the Earth - Music and Women , 2021
The photograph on the cover of the book belongs to Ayten Şenaşık, known as Deli(crazy) Ayten, one... more The photograph on the cover of the book belongs to Ayten Şenaşık, known as Deli(crazy) Ayten, one of the Kambers of Bursa, in other words, a Roman/Gypsy citizen. The first year I came to Bursa (2014), when I saw the statue of Deli Ayten in the garden of the Çalgıcılar Mektebi (Musicians' School), located in the Kamber neighborhood where Romans lived in previous years, I immediately researched his story, talked to those who saw his last years and tried to understand. The reason why I put it on the cover of this book is because of how the identity of woman shapes other identities. Because she is a representative subject with her never-ending the Cümbüş and Drum.
Deli Ayten, with her colorful bags in one hand and her drum and Cümbüş instrument in the other, carried the Romanian woman identity on her back. Despite her family's disapproval, her marriage to Cümbüş Hasan, whom she fell in love with, came to an end after her husband's addiction to alcohol, leaving Ayten, and then her death. Losing her mind because of this, Ayten carries the difficulties of life peculiar to women and the instruments in her hands entrusted by her husband for years.
While the roles that societies assign to women vary, it is much more possible to dance and sing among Romans, rather than the presence of women playing instruments whom we know that music is at the center of their lives. Ayten losing her mind, her bags and instruments are the ones that stay in her mind the most. Because only a woman who has lost her mind can walk around with music instruments in her hands. Ayten Şenaşık, who has become the symbol of the Kambers community with her female identity and “otherness” Roman identity at the point of “otherness” female identity in various dimensions in different societies, also stands before us as the output of roles based on her gender in the society she belongs to.
At this point it should be noted that, in gender relationships next to arguments of the dominant structure (patriarchal) gender-based othering brings with itself distinctive living practices. We can clearly observe extensions of the said living practices in idea and artistic productions just like in every area of social life. Since the 1970’s fight against insufficient information on women and social constructions produced by women that are at the center of the said gender othering found place in basic pursuits of ethnomusicology and performance arts just like all areas of social sciences with the influence of feminist movement. The requirement to make detections about women in every area is sourced from gender-based othering that is in traditional social structure as well as in modern and postmodern social structures while musical productions of women who became a disadvantageous group in social structure patterns reveal the need to approach their ways of appearance in daily and special rituals with their musical performances through various layers. “Women identity in society” as one of the most important factors in gender- based research will be the main focus of the book.
While Özgecan Karadağlı, who had important points with her article named Slavery, Power, and Music in the Ottoman İmperial, Ioana Baalbaki, the writer of Emilia Comişel and Her Contribution to Romanian Ethnomusicology takes Emilia Comişel which is just left behind 75 years of working on Ethnomusicology of Romania and her works in hand comparatively.
Virginia Sánchez Rodríguez ise, Is Piano Playing a Woman’s Matter? Female Musical Performance in The Spanish Cinema (1939-1975) konusu ile an approach to female musicians in the Spanish cinema in the middle of the 20th century is proposed, specifically during the Franco Regime (1939-1975).
On the other hand, While Mohamed Haseeb studies historical files and field work of women’s role on Kattu Pattu which is a result of the social and economic circumstances of 1970’s in the society of Mapila, Also Báyò Ògúnyemí intends to detail the place of Yorùbá women in the social organization of the Yorùbá society by using their musical arts under the title of Women, Music Ensemble, and the Social Structure of Traditional Yorùbá Society. Pătraş Andra Daniela, Ileana Szenik: A Subjective Approach of Her Work from the Volumes Traditional Carol in Transylvania - Musical Typological Catalogue.
All writing is also presented on Women Play/Sing the Earth- Music and Women symposium which has been orginised by Society of Ethnomusicology at May,2021 and re-edited for the book. I also like to add that the only article that had not presented on the aforementioned symposium, is the one named Is Being the Women Conductor At The Tip Of The Gendered Baton Better Than Being At The Tip Of The Barrel? Thinking of The Afgan Orchestra Conductor which is written by me.
You can access the visiual and auditory files which were used on their presentation by the writers from the link below https://www.youtube.com/channel/UCDt-PzrTDXGdQYXjrdyVEzg/videos
I wish this work will contributes the field and its interested ones. A big thank you to our writers for their hardwork.
Prof. Dr. Özlem DOĞUŞ VARLI