Performance Practice and Compositional Devices in Dadakuada Music.

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dc.contributor.authorAdeola, Taiye Shola
dc.date.accessioned2023-05-05T15:26:21Z
dc.date.available2023-05-05T15:26:21Z
dc.date.issued2008
dc.description.abstractDadakuada is a musical genre that has gone through various phases of development as a result of factors such as cultural cross-fertilization, religious affiliation and technological advancement. It is the most popular non-religious musical genre in Ilorin, Kwara State of Nigeria and has been in existence since about 1830 as a traditional musical genre for entertainment. The concern of this paper is to examine the composition and performance of Dadakuada music with a view to discussing the processes and devices employed in the performance and composition which runs simultaneously. The performance which is divided into three segments include the Pre, Actual and Post performances and the compositional devices include the use of dialogue, instruments, take a break, improvisation, repetition, use of speach, and call and response. The sources for thematic materials include Oriki (praise name), Owe (Proverbs), and contextual occurrence. The paper concludes that the structure of Dadakuada music in terms of text and music have direct bearing with the performance and compositional tools that the music employ.en_US
dc.identifier.citationTHE PERFORMER: Ilorin Journal of the Performing Arts.10 (18); 196 – 216en_US
dc.identifier.issn1595 - 0972
dc.identifier.urihttps://uilspace.unilorin.edu.ng/handle/20.500.12484/9578
dc.language.isoenen_US
dc.publisherThe Performing Arts Department, University of Ilorin, Nigeriaen_US
dc.subjectDadakuada Music; Performance Practice; Compositional Devicesen_US
dc.titlePerformance Practice and Compositional Devices in Dadakuada Music.en_US
dc.typeArticleen_US

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