Igoru music in Okpeland : a study of its fuctions and compositional techniques

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dc.contributor.advisor Nzewi, Meki en
dc.contributor.postgraduate Idamoyibo, Ovaborhene Isaac en
dc.date.accessioned 2013-09-06T16:37:09Z
dc.date.available 2007-01-19 en
dc.date.available 2013-09-06T16:37:09Z
dc.date.created 2006-04-25 en
dc.date.issued 2007-01-19 en
dc.date.submitted 2007-01-19 en
dc.description Thesis (Doctor of Music (DMus))--University of Pretoria, 2007. en
dc.description.abstract This study focused on the functions of Igoru music in Okpe land. It also examined the compositional techniques of the music typology. The primary source for data collection was oral interview. Secondary sources include publications, and records. Unstructured research questions formed basis for the study. The texts of eighty seven (87) songs were transcribed and translated for this study. Fifty songs from this sample were further transcribed in staff notation, for analysis and discussion. At the end of the study, the following findings were made: <ul> <li>Igoru musicians, in their foresight, investigate, evaluate, probe, counsel, warn, and foretell future events in Okpe, to avoid painful experiences, since in traditional Okpe society, life experiences are shared.</li> <li>Most of the themes in Igoru music are derived from the sense of realism than idealism. The songs being quite topical had to be realistic than idealistic in tendency. Various sound and speech elements are put together to make communication effective. </li> <li>Igoru music praises and commends deserving members, in order to encourage those who are doing well in the society to continue in their good deeds, as well as stimulate others to emulate them.</li> <li>The musicians defend their political system, their territorial land mass, traditional religion and themselves from various attacks.</li> <li>Igoru music represents the Okpe identity, thus it was selected amongst other music typologies of the culture to represent it, both in social and political-oriented activities in Lagos and elsewhere.</li> <li>Igoru music uses the hexatonic scale system. Almost all the songs were found to be composed in compound quadruple metre. The performers involve in two-part polyphonic singing. Consecutive parallel 3rds, 4ths, and 5ths are prevalent and melodic cadences resolve upwards than downwards. Shifts of tonal centre (key), according to the convenience of performers, as well as recycling of themes are also common features. </li></ul> en
dc.description.availability unrestricted en
dc.description.department Music en
dc.identifier.citation Idamoyibo, O 2006, Igoru music in Okpeland : a study of its fuctions and compositional techniques, Doctor thesis, University of Pretoria, Pretoria, viewed yymmdd < http://hdl.handle.net/2263/24078 > en
dc.identifier.upetdurl http://upetd.up.ac.za/thesis/available/etd-01192007-134924/ en
dc.identifier.uri http://hdl.handle.net/2263/24078
dc.language.iso en
dc.publisher University of Pretoria en_ZA
dc.rights © 2006, University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. en
dc.subject Compositional techniques en
dc.subject Functions en
dc.subject Meaning and intention. en
dc.subject Transcription and translation en
dc.subject Opening and closing-formulas en
dc.subject Vocal forms en
dc.subject Poetry as songs en
dc.subject Ensemble-organization en
dc.subject Okpe en
dc.subject Igoru music en
dc.subject UCTD en_US
dc.title Igoru music in Okpeland : a study of its fuctions and compositional techniques en
dc.type Thesis en


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