Browsing by Author "Ikibe, Solomon"

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    Internal mechanisms as tools for conflict resolution: case study on Share-Tsaragi, Nigeria
    (Heliyon, 2021-01-11) Ikibe, Solomon
    Share and Tsaragi are twin communities in Kwara State, Nigeria, living harmoniously for centuries before a crisis on border issues erupted between them. This study argues that internal mechanisms which originate from the people’s philosophy and culture are potent tools to sustain peaceful co-existence between them. The research designs are quantitative and qualitative and data were gathered from participant observations, questionnaires and interviews. Findings show that government interventions have not been perfectly enforced, hence recurring conflicts. The study concludes that crises are imminent where population growth is without corresponding economic empowerment and socio-cultural integration among the people. Previous research efforts confirm that African conflicts often occur due to the combination of poverty and weak States and institutions. However, data from this research confirms that collaborations and consensus are potent tools to entrench peace in Share and Tsaragi communities.
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    Operatic Adaptation of Drama scripts: Femi osofisan's A restless run of locust at Unilorin 24th convocation play
    (Theatre and media studies department, Nnamdi Azikwe university, awka, Nigeria, 2014) Ikibe, Solomon; Olalusi, Taiwo
    Abstract This paper examines the process of adapting a drama script! into an opera using an adapted work of a prominent playwright as focus with Hutcheon's theory of adaptation as our reference point. This paper uses the adapted work to analyze and judge the success of adaptation and also points out its short comings. In view of this, the paper pervades the process of conducting interviews, participatory observation method with the consultation of relevant books.journals, articles, thesis etc. We observed that the adaptation of the drama script was not totally based on the theories of adaptation which scholars such as Kneupper (J972), Zawidski (2000), Elvira (2003), Hutcheon (2006) and others have researched and developed and that previous adaptations by adapters have sacrificed some inherent dramatic moments for the music itself The paper concludes and makes recommendations in order to correct some existing challenges jar the betterment of the adaptation of drama scripts into operas in theatre schools and theatrical performances.
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    University of Ilorin 203rd Inaugural Lecture
    (University of Ilorin Library and Publications Committee, University of Ilorin, Ilorin, Nigeria, 2021-08-26) Ikibe, Solomon
    This Inaugural Lecture focuses on the relationship between Music and the Sciences – “Man Uses Science In Communication”. It investigates the very close relationship between Music and the Sciences – Physics, Mathematics, Biology and Health Sciences. Incidentally, as I was preparing this lecture, one of our colleagues’ son who had been admitted and registered to study Physiotherapy willingly opted out to study Music with Physics, Mathematics and Biology at the UNILORIN JUPEB Program. Initially, I wondered what kind of subject combination that was, but on a second thought, I perceived that the boy made a very good choice as I pray that posterity will vindicate and reward him on this wonderful subjects’ combination. He wants to go into Music Technology.Mr. Vice-Chancellor Sir, the first part of this inaugural lecture has to do with an age-long misdemeanour, a minor misdeed indeed, among choristers in Nigeria which has been of great concern to me. This is the issue of sol being wrongly enunciated as saw. The tonic sol-fa notes (d:r:m:f:s:l:t:d’) consisting of seven syllabic consonants (and a repetition of the first note with an apostrophe, to make it an octave higher) were devised by Sarah Ann Glover (1785 – 1867) a native of Norwich, England, in the 18th century but popularized by John Curwen (1816 – 1880) to simplify the sight-singing ability of choristers. The correct enunciation of the tonic sol-fa notes is doh, ray, me, fah, sol (soh), lah, te doh’. The fifth note, sol (soh), had always been wrongly sung as saw instead of sol. I have kept correcting this at various fora – conferences, workshops, classroom teaching and in publications. (See Ikibȩ, 2003, p. 120; 2012, p.1; 2013, p.34; and 2014, pp.4-5).