Repositioning Musical Sound Production in Nigeria Worship Auditoria: Some Issues of Concern By (original) (raw)
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International Journal of Advancements in Technology, 2015
Acoustics is a developing science in Nigeria like elsewhere in the world. However, it is fast gaining popularity as the country is faced with acoustical challenges from industries, road traffic, power generating sets, churches etc, hence the need to proffer solution to the menace. The church auditorium is a space meant for worship, listening and preaching the word of God. This makes it a spiritual environment, that requires serenity to enable the audience hear and understand what is being preached from the alter (stage). A sermon preached in the auditorium should be reasonably loud and clear. It therefore, necessary for an auditorium to be acoustically equipped to ensure clarity of sound within it as failure to do so could promote noise, that can impede hearing. Noise such as echo and reverberation can cause blurring on a speech within a church auditorium, thereby creating difficulties for an effective communication between the listeners and the preacher. The following are two major kinds of noise that could mar good communication in a church auditorium e.g. background noise and acoustic noise. The continuous extraneous noise is called "background" noise, while the echo and reverberation emitted from the loudspeaker and microphones is called "acoustic" noise. This Paper will be critically looking at the use of acoustic materials in the old and new Church auditoriums in Nigeria. It will also provide a brief background of Nigeria's traditional spaces of worship as was created by the vernacular architecture, before the introduction of modern church architecture by the colonialists. It includes an outline of various church architectural Forms and the use of acoustical materials and technology spanning a long period in Nigeria. The Paper actually provides opportunities for critical discussions on the influence of time, knowledge, materials, and economy on the use of acoustic materials in churches in Nigeria. Along the line of discussion, the Paper will draw comparisons between the acoustic performance of auditoriums of the past and present on the basis of materials type used, spatial design arrangement, functionality/comfort and aesthetics. The benefits of this comparative analysis between old and new church auditoriums on the use of acoustic materials and technologies will also not be ignored.
Exposure to Excessive Sound Volume: A Major Challenge in the South-Western Nigeria Church Auditoria
Advances in Research
The study examines the exposure to excessive sound volume as a major challenge to grapple with in church auditoria in South-western Nigeria. This exposure to excessive sound has become a source of noise pollution and it is dangerous to human health. Data for this paper were gathered through participant observation of musical acoustics in worship auditoria using a Virtual Instrument; a Sound Pressure Level mobile application installed on a mobile phone for sound volume measurement. The equivalent noise level using A-weighting was taken for twenty minutes per day, this was observed for the three different worship services at different dates and time in each of the selected church auditoria during each worship service. The LAeq, T, of each musical session was calculated. Findings show that the worshippers are exposed to average noise levels of 90.29 dB (Threshold of Pain) at every worship service which is higher than the recommended 60dB for normal human ear by World Health Organizatio...
Assessment of Environmental Acoustic Levels of Some Churches in Uyo Metropolis, Nigeria
European Modern Studies Journal
This research work presents assessment of environmental acoustic levels of some churches in Uyo Metropolis, Nigeria. The measurements were made using a sound level meter; model TES 1350 A. Ten churches with musical instruments were selected. The acoustic levels were taken when there was no church service, LN and during church service LS. The linear regression model of a graph of LS against LN showed that LS and LN were not strongly correlated as it had a coefficient of determination, R2=0.007. The results of the findings indicated that all the churches considered had environmental acoustic levels greater than the WHO tolerant level of 55 dBA for a non-work environment. The results revealed that Church I had the highest LS of 87.94 dBA. Therefore churches should be professionally sited and researches inside churches should be conducted, especially during service.
Comparative acoustical studies of two Goan churches
2008
The ‘Tranqui l i t y’ factor in Chr ist ian worship can be acoust ical ly expressed as an opt imized b lend of s i lence, awe and inte l l ig ibi l i t y. These der ived acoust ic parameters in th is study are ca l led ‘Acoust ic Comfor t Impression Index [ACII ] and Subject ive Speech Inte l l ig ib i l i t y Index [SSII ] w i th respect to l ive music and speech respect ive ly. This study presents the behaviour and opt imized predict ion of ACII and SSI I, by subject ive and object ive acoustic measures, in two cathol ic churches of Goa coded as HSCH and HTCH respect ive ly. ACII for d i f ferent s ignal sources and music t ypes and SSII for d if ferent s ignal sources and languages were analyzed and averaged in 4 l istener zones using Excel and Origin 6.0 . Terrasonde Audio Tool Box 2.0 a long with Terral ink and AutoCAD was used for measur ing object ive acoustic parameters (RASTI, RT60 , D50, C80, TS, LEF, ITDG, EDT, G , e tc.) a t di f ferent locat ions in each church. ACII_HS...
Acoustical characterization of live music and singing in Nossa Senhora do Pilar Church - Goa
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This case study was conducted at the church of Nossa Senhora do Pilar, Goa and is part of a series of tests to gauge the acoustical difference in this 400 year old church from a prerestoration phase to the post-restoration phase. The worship space was acoustical characterized using objective acoustical parameters (RASTI, RT, D50, C80, TS, and LAeq) and subjective acoustical impressions of listeners for live performances of sacred music and sacred singing. Solo performances on stringed and blowing instruments were compared with solo voice recitals. A choral group with and without accompaniment was also tested. Two different performance locations in the worship space were tested for ensemble music and for choir singing. Amongst the significant results, the choir loft source location registered a 89% better L Aeq value and 80% better RASTI value than the nave floor source location. Amongst the subjective acoustical results, ACII (p = 0.15), SSaF (p = 0.06) and SInF (p = 0.18) for sacred singing by the choir with an accompanying ensemble showed significantly better results at the choir loft location than at the nave floor location. The values of the objective acoustical parameters obtained in this survey were compared with those obtained earlier, so as to gauge the impact of the restorative exercises (so far) undertaken in the church. RT, RASTI, D50 and C80 values showed improvement. This study thus adds on to a comparative explanation of the restoration of the acoustical heritage of Nossa Senhora do Pilar church.
Benin Journal of Music and the Arts (A Publication of the Music Programme, Department of Theatre Arts. Faculty of Arts, University of Benin): Benin, Vol. 1. May 2022. www.benjma.org, 2022
Yoruba Church music among the Nigerian Baptist Convention churches in SouthWestern Nigeria has experienced growth in performance practices, human and material resources, and the quality of musical works from the indigenous musical culture. These have affected the growth of Yoruba Church music practices in worship and Church-related activities in the area. Although there is noticeable musical growth in the area, there is yet the need to review and document the factors responsible for the growth from 1981 to 2021. This study is an attempt to bridge this gap and employed a qualitative research paradigm using the relevant musicological approach to validate the various literary data. This study noted among others, an increase in recruitment and training of music personnel, increased musical activities in liturgical process and pageantry, and an increase in documentation of Yoruba Church music as growth indices. It also identified music training, missionary activities, continuity, and changes in compositional and performance practices as some of the factors responsible for the growth. It recommends the need for a more specific policy by the church authority on the use of music in liturgy to further enhance the growth of culturally and theologically relevant Church music.
Application of Acoustics Treatment Techniques in the Design of an Anglican Cathedral, Abuja
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Cathedrals have existed for so long as the liturgical seats designated for presiding bishops. Previous studies showed the existence of challenges in the acoustics of Cathedrals. Therefore, this study investigated the acoustical treatment techniques used in enhancing users’ listening experience in selected Cathedrals with a view to apply its features in the design of an Anglican Cathedral in Abuja, Nigeria. The scope of this study was limited to listening experience as a perception of sound quality. The study area was limited to Abuja and the units of data collection were selected using specific selection criteria. The study adopted both qualitative and quantitative research approaches. Data were gathered with the aid of literature review, observation guide and structured questionnaire. Qualitative data were content analysed and quantitative data were analysed using Statistical Products and Service Solutions (SPSS) software. The results were presented with the aid of tables, photogra...
The Use of Human Five Senses as Models to Enhanced Music in Worship in Abeokuta, Nigeria
INTERNATIONAL JOURNALS OF LITERATURE AND ARTS, 2020
Worship music has become a key identifier for local churches. Descriptors like "contemporary," "traditional," "blended," and "arts" are often innuendos for music styles and song repertoires. The task of planning the worship songs for a weekly gathering is not about perpetuating perceptions about your church. Worship planners should apply several principles as they select and arrange songs for worship gatherings. We commend coherence with the content of the sermon as a high priority for worship planning, since God's word is His means for making us wise rebuking, correcting, training, completing, and equipping us, the whole service should prepare believers to hear, accept, believe, love, submit to, and obey the scriptures. Songs have a unique capacity for summarizing and reinforcing Christian instruction. In order to avoid proselytizing, the model for the evaluation of the evangelical church in Abeokuta takes into account all of the elements presented in the literature as reviewed in in this article. The driving force for this model is the material that emerged in field survey, the analysis and findings. Owing to the general findings and suggestions of those that are engaging the Music in Worship, a sustainable model illustrated with the concept of our five human senses will be proposed in this article. Using the five senses to appreciate beauty is to engage all five senses-hearing, sight, tough, smell and taste-in the world of order.
The Sound of Liturgy Theoretical Research on the role of Sound in the Performance of Liturgy
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The Sound of Liturgy 1.5 Research question This Master Thesis is the first part of a larger research project in the field of Liturgical Studies. The entire research project investigates the role of sound in the performance of liturgy as celebrated in three churches situated in Amsterdam Southeast, and also its theological implications for liturgy. The project consists of three parts: a theoretical part, an empirical part and a part which includes a scientific reflection on the empirical process. This reflection, in which theory and empirical data will be related to each other, will provide knowledge by which we shall be able to give a provisional answer to our research question. On the basis of this answer, our concepts will have to be readjusted and new questions shall rise. The area of interest in this research project is liturgy as celebrated in a post modern, 21 st century, European world. Since the larger project concentrates on two immigrant churches with African roots and one Dutch church with mainly Surinam members, we shall in our research focus on West European and African cultures (Surinam's population has partly descended from African slaves). When it comes to music we will also pay attention to the African-American culture, for two reasons. Firstly, as we said, because of Surinam's roots in African slave culture, in which music was very important. Secondly, because the African-American sound is the foundation of today's popular music, which is very important in European and Western culture at large and is, at the same time, the foundation of the music of the so-called 'Praise and Worship Movement' (the North-American liturgist Redman uses this concept as an umbrella term for evangelical, Pentecostal and charismatic churches, see REDMAN 2002, 22-46). The 'praise and worship' way of celebrating liturgy is often practiced by African communities in Amsterdam Southeast. Our field of problem is a complex one. The world is changing, for example in the area of social and religious relationships: Africa will soon be the largest Christian continent in the world. A 'reversed mission' is being forecasted: migrants from the so-called 'developing world' will re-Christianize Europe. Migrants will make the largest group of Christians in Europe in the foreseeable future. (This is precisely why we chose to bring in immigrant churches into our larger project.) Meanwhile we have to take into account various original, often ancient cultural roots from different continents, and large-scale movements like Pentecostalism that influence the liturgy of immigrant churches on the European continent. The ongoing process of globalization-a process in which available goods and services, or social and cultural influences, gradually become similar in all parts of the world-is also contributing to this development. As a result, traditional, characteristic traits are being swapped for 'universal' features, while indigenous customs are adopting international practices. This process obscures our field of problem and makes the liturgical field complex, multilayered and ambiguous. We have to be aware of this fact and be cautious in drawing conclusions.