Browsing by Author "Adeola, Taiye Shola"

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    AbdulRasheed Adeoye’s Purpose and Approach to the Use of Music in Play Productions
    (Published by Department of The Performing Arts, University of Ilorin and Department of Theatre and Film Studies, University of Cape Coast, Ghana., 2019) Adeola, Taiye Shola
    The use of music in play productions is a regular feature employed by directors to serve different purposes. These purposes, which can be musical or non-musical, tend to define to a great extent the approaches employed by the directors in the execution of their intentions. This paper, relying on participant observation and analytical methods, discusses the purposes and approaches of Abdulrasheed Adeoye to the use of music in his written and directed plays. The paper identifies the five dominant purposes which we have captured as contextualization, characterization, pulsation, demonstration and disposition and the five of Adeoye’s approaches to the use of music described as collaboration, adaptation, composition, interaction and instrumentation. In pursuit of his Neo-alienation style, which cannot be separated from the total theatrical concepts rooted in the African festival theatre, Adeoye in collaboration with other experts in music, dance and drama have succeeded in fussing music to heighten the meaning relevant to play/production context, establish his characters and regulate the pace of his performances through the use of music. The alignment of the approaches with the purposes, has greatly contributed to the effectiveness of the music in his dramatic endeavors, thereby enhancing their success. It is our conclusion in this paper that Abdurasheed Adeoye, as a playwright and artistic director, has effectively utilized the medium of music as a tool of driving his dynamic dramatic intentions.
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    Aesthetics in Yoruba Music: A case study of the people of Igboho. In
    (Peter Lang., 2017) Adeola, Taiye Shola
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    Application of Functionalist Perspectives in Religion to Sociological Issues in Contemporary Nigerian Popular Music
    (Centre for Black and African Arts and Civilization, Lagos, Nigeria (CBAAC), 2011) Adeola, Taiye Shola
    The interaction between music and social dynamics defines itself in multiple perspectives which include rapport between musical traditions and such other cultural elements as education, politics, value systems and behavioral patterns, historical development and religion. Music being a very important aspect of the Nigerian culture has sociological implications. While music can be examined through the society, the society within which music is performed can also be studied through its music. Music is a product of the behavior of human groups whether formal or informal. Because music is humanly organized sound, there ought to be a relationship between patterns of human organizations and the patterns of sounds produced as a result of human interaction. The paper adopting the contextual hermeneutical approach relies on the functionalist perspective to the study of religion to look at contemporary Nigerian Popular music with a view to identify sociological issues in the composition, performance and practice of contemporary popular music in Nigeria and the impact on the Nigerian Society. The paper reveals that music being a social product is highly functional and has in it attendant sociological issues as reflected in the themes of the songs, performance practice and general impact on the society. Issues of religion, ethnicity, social control, cohesion, mass mobilization, revolt, gender, moral decadence and identity have thus been identified as sociological themes that are generated by the contemporary Nigerian popular music.
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    Concepts and Symbolic Representations of Illness and Healing in Selected Nigerian Gospel Songs
    (Faculty of Arts, University of Ilorin, 2019) Adeola, Taiye Shola
    The Nigerian gospel music presents different themes which reflect the realities of the musicians’ experiences within the context of their existence. One of the themes that feature in the song text of the Nigerian gospel music is that of illness and healing for which concepts and symbols exists. Adopting the cultural hermeneutical method and borrowing from Social Representation theory, this paper examines the concepts and symbolic representations of illness and healing in selected Nigerian gospel songs. It is discovered that gospel musicians have evolved certain terminologies for illness and healing in the individual, corporate and Nigerian national life. Illness is thus viewed not only as absence of physical or bodily wellness or being infected with diseases but also considered as any form of disorder, disability, inadequacy, crisis or absence of certain things in individual, community or national life which reflects in the spiritual, economic, social and political lives of the people, while healing is considered as the restoration of the disorder or provision of the things lacked. It is our conclusion in this paper that the Nigerian gospel music is a social commodity which influences and is influenced by the realities of its existence, hence, it has the capacity to adapt to the social realities and generate concepts to appropriately describe them.
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    Contemporary Nigerian popular Music: A tool for National Development
    (The Society of Nigerian Theatre Artists (SONTA), 2000) Adeola, Taiye Shola
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    Creative Imagination and the Quest for Peace: Reflections on Nigerian Gospel Music Song Texts
    (The Department of Philosophy and Religions, University of Abuja, 2015) Adeola, Taiye Shola; Adeola, Kehnde Adedayo
    The Nigerian gospel music presents an array of creative imaginations, some of which are directed towards the clamor for peace. Creativity being a product of imagination is given expression in the designs produced by the artist, song writer, composer, poet, playwright, and so on. The thought process is further reflected in the designs exhibited in choice of words, rhyme of words, balance of phrases, patterns of melody, use of harmony, blend of instruments, style of performance and many more. Adopting the cultural hermeneutical, musicological and discographical approaches, this paper examines the music of some Nigerian gospel musicians, analyzing them to bring out patterns of creativity in song texts; issues about their quest for peace and the principles underpinning their compositions. It is also discovered that lack of peace is not only considered in terms of outbreak of war or crisis in a community, state or nation, but also in relation to individual’s well being physically, spiritually and in relation to the nation’s economic, political and religious wellness. It is also discovered that gospel musicians in the context of their existence have evolved certain terminologies for peace or lack of it in Nigerian national life. It is the conclusion of this paper that the Nigerian gospel music is socially relevant and it is a veritable tool for the attainment of the peace being clamored for through creative imagination. It has also helped to create the agenda for the perceived social reconstruction which the grassroots hope for.
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    Discourse on Illness and Healing in Selected Gospel Songs in Southwestern Nigeria.
    (School of Performing Arts, University of Ghana, Legon, Accra, 2011) Adeola, Taiye Shola
    The study examined the discourse on themes of illness and healing in gospel music in Southwestern Nigeria since the early 1980s. It also identified factors responsible for the regular occurrence of these themes in Nigerian gospel music recordings. Adopting contextual, cultural-hermeneutical, musicological and discographical approaches, this study carried out a textual analysis of recordings of selected gospel musicians from the Southwestern part of Nigeria. Interviews were also conducted with some gospel musicians to obtain information about the theology underpinning their songs, and their perceptions of what they considered as illness and healing. Lastly, secondary sources such as books, articles in journals, Newspaper articles, and internet sources were consulted. The findings show that gospel musicians perceived illness not only as a state of physical, but also as a spiritual, social and even political disorder that all needed to be restored to optimum functionality
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    Expounding on Gospeltainment Theory
    (Department of Music, Obafemi Awolowo University, Ile-Ife, Nigeria., 2023) Adeola, Taiye Shola
    Gospel music is one of the religious musical genres that have developed over the years in Nigeria and the debate on the spiritual and the entertainment contents of it has been on since the 1980s. There is also a dearth of underpinning theories for gospel music in the Nigerian scholarship. Consequently, this chapter expounds on gospeltainment theory identifying the characteristic features in the Nigerian gospel music. The work adopted the cultural-hermeneutical, textual, content analysis and discographical methods. The gospel entertainment theory within the concept of gospeltainment served as our theoretical framework. Cultural – hermeneutical method was used to interpret the song texts in their cultural contexts while discographical and content analysis methods relying on existing recordings were used as resources for analysis of song texts. Participant–observation and interview techniques were also used as instruments of data collection. The characteristic features of gospeltainment are subsumed in three primary intentions of gospel musicians which are the desire to proclaim the gospel; the desire to make the music appeal and the craving for financial gain. These intentions qualify any gospel music performance as gospeltainment. Four basic elements derived from these intentions are the religious or gospel, the musical, the performance styles and the extra-musical in turn define the various characteristic features of gospeltainment. This chapter concludes that gospeltainment should be adopted as a relevant theory for gospel music performance in Nigeria because there are inherent entertainment and ministration elements in every gospel music performance.
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    Expounding on Gospeltainment Theory
    (Department of Music, Obafemi Awolowo University, Ile-Ife, 2023) Adeola, Taiye Shola
    Gospel music is one of the religious musical genres that have developed over the years in Nigeria and the debate on the spiritual and the entertainment contents of it has been on since the 1980s. There is also a dearth of underpinning theories for gospel music in the Nigerian scholarship. Consequently, this chapter expounds on gospeltainment theory identifying the characteristic features in the Nigerian gospel music. The work adopted the cultural-hermeneutical, textual, content analysis and discographical methods. The gospel entertainment theory within the concept of gospeltainment served as our theoretical framework. Cultural – hermeneutical method was used to interpret the song texts in their cultural contexts while discographical and content analysis methods relying on existing recordings were used as resources for analysis of song texts. Participant–observation and interview techniques were also used as instruments of data collection. The characteristic features of gospeltainment are subsumed in three primary intentions of gospel musicians which are the desire to proclaim the gospel; the desire to make the music appeal and the craving for financial gain. These intentions qualify any gospel music performance as gospeltainment. Four basic elements derived from these intentions are the religious or gospel, the musical, the performance styles and the extra-musical in turn define the various characteristic features of gospeltainment. This chapter concludes that gospeltainment should be adopted as a relevant theory for gospel music performance in Nigeria because there are inherent entertainment and ministration elements in every gospel music performance.
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    Factors Responsible for the occurrence of Themes of Illness and Healing in Selected Nigerian Gospel Songs
    (The Performing Arts Department, University of Ilorin, Nigeria, 2020) Adeola, Taiye Shola
    Themes of illness and healing occur in the Nigerian gospel songs reflecting the gospel musician's concept and perception of illness and healing. The factors that generate these themes range from the musician's personal experience to social, economic, spiritual, and political. some of these factors are obvious in the song renditions and some can be inferred through a careful analysis of the song texts and context of the renditions. through participant-observation and analytical methods, foregrounding the research in Reflexivity Social Theory, this paper examines the concept of illness and healing and discusses the factors responsible for the occurence of these themes in selected Nigerian gospel songs.
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    From Anthropocentric Sinfulness to Bio-centric Gracefulness: Mission to Creation.
    (Centre for Black and African Arts and Civilization, Lagos, Nigeria (CBAAC), 2008) Adeola, Taiye Shola
    We live in a human centered world in which human's insatiable desires have made them to see all other parts of creation as something to be used to satisfy its ever widening desires. This has led to continuous mutilation of creation by humanity thereby committing sin against nature. This damage to creation as a result of human centredness is herein refereed to as "Anthropocentric Sinfulness". The indigenous Africans believe that nature is sacred as they perceive the world as a place inhabited not only humans but also by the spirit beings and this greatly influenced their handling of creation and their environment. As such they conceive a life centered world herein refereed to as "Bio-centric Gracefulness" . This chapter advocates a shift from Anthropocentric sinfulness to Bio - centric gracefulness emphasizing the need for humanity to recognize the interdependence and inter-relatedness of the whole creation.From an African perspective, the chapter suggests a reclaim of Yoruba spirituality and believe about creation before the advent of Christianity as a basis for the shift from a "human centred" world to a "life centered" world. The chapter also discusses the implication of anthropocentricism to missions and what the consequences of a shift will be. It concludes with suggestions of what must be done and a theological reflection on creation.
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    The gods have spoken (An Opera Libretto)
    (The Performing Arts Department, University of Ilorin, Nigeria, 2012) Adeola, Taiye Shola
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    Gospeltainment: Music and Profit in Nigeria.
    (A publication of University of Dares Salaam., 2020-06-23) Adeola, Taiye Shola
    Nigerian gospel music is an emblematic and significantly informative entertainment industry; it is both an artistic and a contemporary religious genre that reveals social transformations nationally, regionally and globally. The historical fusion of entertainment with spirituality in Nigerian music reflects at once the influence of secular music upon the composition process and the performance context, the pressures of audience demand, the idiosyncrasies of each musician, as well as financial and commercial trends. The radical effects of change in the local labour market and in the world economy are not really new; these have been features of Nigerian gospel music since its origin. But now these factors define this music at the performance level as well.
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    Gospeltainment: Towards a Theory for Nigerian Gospel Music
    (the Association of Nigerian Musicologists, 2016) Adeola, Taiye Shola
    This paper argues that there is a shift in the frontiers of the concept of entertainment and the concept of gospel music emphasizing the inseparability of entertainment from gospel music performances. the debate on the spiritual and the entertainment content of gospel music in Nigeria has been on since the 1980s especially between the gospel musicians who claim that they are not entertainers but ministers and the patrons and analysts who see gospel musicians as entertainers of a sort. It is our intention in this paper to marry these two positions through a proposal of a "Gospel Entertainment Theory" within the theoretical praxis of gospeltainment which rests on the notion that there is inherent entertainment in gospel music performance or that entertainment is generally inseparable from gospel music performances as there are underlining entertainment elements in gospel music performance which can be purely musical, extra-musical or both. These elements can also be latent, underlining or dominant and can either be intended or unintended. The paper challenges the current notions of entertainment as limited to secular performance only and the notion that gospel music is not meant to entertain.
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    Gospeltainmet: Performance Style as Basis for Entertainment in Nigerian Gospel Music
    (Pwani University, Kilifi, Kenya., 2023-04) Adeola, Taiye Shola
    The Nigerian gospel music haven developed as a sub-genre of Christian music over the years in Nigeria has become popular and identified with unique performance styles engaged by the musicians. Such performance styles apart from enhancing the performance also generate entertainment in the context of the ministration intended by the gospel musicians even when the musicians do not admit it. This paper discusses performance style as basis for entertainment in Nigerian Gospel Music by identifying such performance styles and how they are employed. The paper relies on content analysis and descriptive methods, participant-observation and interview as instruments of data collection. The gospeltainment theory is engaged to foreground the discourse. It is discovered that the musicians adopt different performance modes and contexts in order to appeal and sell their music in the phase of keen competition between it and other types of entertainment music that exists in the country. The paper concludes that although the main focus of the gospel musicians is to proclaim the gospel, entertainment is inherent in it even when it is not intended and performance style is one of the vehicles that drive that entertainment. This has made the music to serve a dual purpose of ministration and entertainment because it is religious and has become popular.
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    Gospeltainmet: Performance Style as Basis for Entertainment in Nigerian Gospel Music.
    (Pwani University, Kilifi, Kenya., 2023-03) Adeola, Taiye Shola
    ABSTRACT The Nigerian gospel music haven developed as a sub-genre of Christian music over the years in Nigeria has become popular and identified with unique performance styles engaged by the musicians. Such performance styles apart from enhancing the performance also generate entertainment in the context of the ministration intended by the gospel musicians even when the musicians do not admit it. This paper discusses performance style as basis for entertainment in Nigerian Gospel Music by identifying such performance styles and how they are employed. The paper relies on content analysis and descriptive methods, participant-observation and interview as instruments of data collection. The ‘Gospeltainment’ theory is engaged to foreground the discourse. It is discovered that the musicians adopt different performance modes and contexts in order to appeal and sell their music in the phase of keen competition between it and other types of entertainment music that exists in the country. The paper concludes that although the main focus of the gospel musicians is to proclaim the gospel, entertainment is inherent in it even when it is not intended and performance style is one of the vehicles that drive that entertainment. This has made the music to serve a dual purpose of ministration and entertainment because it is religious and has become popular.
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    The Historical Development of Dadakuada Music
    (Faculty of Arts, University of Ilorin, 1999) Adeola, Taiye Shola
    A lo has been written on Yoruba Music generally. However, there are still many more areas to be researched extensively into, especially on specific Yoruba musical genres. Dadakuada is one of such musical genres on which existing literature is relatively scanty in spite of the t that it has been in existence for a long time as a traditional music for entertainment among the people of Ilorin in Kwara State of Nigeria. This paper therefore discourses the historical development of Dadakuada Music focusing on the origin and the stages of Dadakuada development. The qualitative method was engaged, using interviews with Dadakuada musicians and other individuals in lorin community. It is discovered that Dadakuada music has gone through three stages of development namely the early; middle and present stages with different musicians dominating the different stages. Dadakuada music continues to be the foremost traditional nonreligious musical genre among the people of Ilorin and has retained its originality despite different innovations at the various stages of its development.
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    The Influence of Attitude, Religion, and Language on Dadakuada Music in Ilorin.
    (The University of Ilorin Library and Publications Committee, 2014) Adeola, Taiye Shola
    This paper examines Dadakuada music of the Ilorin people found in Kwara State of Nigeria.Music does not exist in vacuum but rather it influences and is influenced by a variety of factors within its socio-political and geographic context among which religion is a strong factor. The association of the music culture to religious activities and festivals within a society makes the influence of religion on music almost inevitable. Relying on observation and participation; oral interview and discographic methods, it is observed that the religion of the people of Ilorin being Islam has had both positive and negative influences on Dadakuada music over the years. It has affected the behavior patterns of the musicians and has heavily influenced the content of their music and the musician’s use of language. The structure, culture and belief of the immediate society have constituted a force that the musicians and their music have had to contend with. The contentions and tensions between the society, locally held religious belief and the survival and nourishment of Dadakuada is what this article seeks to discuss. It concludes that Dadakuada music, musicians and the society within which it exists are ambivalent oscillating between patronages in the terrain of the entertainment and Ilorin culture that the music provides and opposition on the grounds of religious beliefs.
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    The Influence of the Social, Political and Economic Realities in Nigeria on Nigerian Gospel Music Song Texts
    (Department of Philosophy and Religions, University of Abuja., 2015) Adeola, Taiye Shola; Adeola, Kehnde Adedayo
    This paper embarks on a content analysis of song texts of selected Nigerian gospel songs to discuss the influence of the social, political and economic realities in Nigeria on them. Gospel music is one of the religious musical types that have developed over the years in Nigeria and it has become popular. It engages various themes and discusses contemporary issues as they find relevance from time to time. The paper adopting the cultural-hermeneutical and textual analysis and discography approaches relies on the reflexivity social theory to discuss the influence of the social, economic and political realities in Nigeria from the 1980s to the present on the song texts of gospel music. The operations of gospel music within the general context of the overall social, economic and political realities of the country subjects the musicians and by extension their music to the influence of the general situation in the country. To a great extent these realities forms part of the contents of their music either as a reaction, suggestion, commentary or prayer for a change. This paper is based on the findings after the content analysis of over fifty gospel songs. It is discovered that many of these gospel songs can be grouped into songs of social concern; songs on economic situations and songs on political situations in Nigeria. The paper concludes that beyond the sole spiritual relevance and focus of gospel music which the musicians claim and project gospel music to serve, gospel music has become a social commodity that influences and is been influenced by the society in which it exists as the content and themes of the songs are greatly influenced by the social, economic and political situations in the country.
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    Intersection of Popular Culture and Nigerian Gospel Music
    (Taylor and Francis, 2020) Adeola, Taiye Shola
    Music does not exist in vacuum. Rather it influences and is influenced by a variety of factors within its socio-political and geographical context. As an element of culture, music connects people among whom it evolves. Music derives strength from the culture that regulates its emergence, performance, patronage and continuity. The Nigerian gospel musicians and the popular musicians operate within the same Trans cultural field and are therefore both affected and influenced by the same realities of existence. These two equally influence each other in some ways that become manifested in their arts, acts and activities. The impact of popular culture on musical activities including gospel music can therefore not be ignored. This paper therefore relying on cultural-hermeneutical, content analysis and discographical methods examines the intersections of popular culture and the Nigerian gospel music with particular reference to areas of influence on each other. It is the conclusion of this paper that the impact of popular culture of gospel music is evident in the use of media, the execution of gospel music as an art form greatly influenced by secular art especially music and fashion, and the socio-political and economic realities of the society.