Download Nigerian Music 2023 Mp3

The music of Nigeria includes many kinds of folk and popular music. Little of the country's music history prior to European contact has been preserved, although bronze carvings dating back to the 16th and 17th centuries have been found depicting musicians and their instruments.[1] The country's most internationally renowned genres are Indigenous, Apala, Aurrebbe music, Rara music, Were music, Ogene, Fuji, Jj, Afrobeat, Afrobeats, Igbo highlife, Afro-juju, Waka, Igbo rap, Gospel,[2] and Yo-pop. Styles of folk music are related to the over 250 ethnic groups in the country, each with their own techniques, instruments, and songs. The largest ethnic groups are the Igbo, Hausa and Yoruba.[3] Traditional music from Nigeria and throughout Africa is often functional; in other words, it is performed to mark a ritual such as the wedding or funeral and not to achieve artistic goals.[4] Although some Nigerians, especially children and the elderly, play instruments for their own amusement, solo performance is otherwise rare. Music is closely linked to agriculture, and there are restrictions on, for example, which instruments can be played during different parts of the planting season.

Work songs are a common type of traditional Nigerian music.[5] They help to keep the rhythm of workers in fields, river canoes and other fields. Women use complex rhythms in housekeeping tasks, such as pounding yams to highly ornamented music. In the northern regions, farmers work together on each other's farms and the host is expected to supply musicians for his neighbours.

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The issue of musical composition is also highly variable. The Hwana, for example, believe that all songs are taught by the peoples' ancestors, while the Tiv give credit to named composers for almost all songs, and the Efik name individual composers only for secular songs. In many parts of Nigeria, musicians are allowed to say things in their lyrics that would otherwise be perceived as offensive.

The most common format for music in Nigeria is the call-and-response choir, in which a lead singer and a chorus interchange verses, sometimes accompanied by instruments that either shadow the lead text or repeat and ostinato vocal phrase. The southern area features complex rhythms and solo players using melody instruments, while the north more typically features polyphonic wind ensembles. The extreme north region is associated with monodic (i.e., single-line) music with an emphasis on drums, and tends to be more influenced by Islamic music.

The people of the North are known for complex percussion instrument music, the one-stringed goje, and a strong praise song vocal tradition. Under Muslim influence since the 14th century, Hausa music uses free-rhythmic improvisation and the Pentatonic scale, similar to other Muslim Sahelian tribes throughout West Africa, such as the Bambara, Kanuri, Fulani and Songhai. Traditional Hausa music is used to celebrate births, marriages, circumcisions, and other important life events. Hausa ceremonial music is well known in the area and is dominated by families of praise singers. The Hausa play percussion instruments such as the tambora drum and the talking drum. The most impressive of the Hausa state instruments, however, is the elongated state trumpet called Kakaki, which was originally used by the Songhai cavalry and was taken by the rising Hausa states as a symbol of military power. Kakaki trumpets can be more than two metres long, and can be easily broken down into three portable parts for easy transportation.

Courtly music is played among the more traditional Igbo, maintaining their royal traditions. The ufie (slit drum) is used to wake the chief and communicate meal times and other important information to him. Bell and drum ensembles are used to announce when the chief departs and returns to his village. Meal times may include pie, and other dessert foods for the holidays.[7]

The Yoruba have a drumming tradition, with a characteristic use of the dundun hourglass tension drums. Ensembles using the dundun play a type of music that is also called dundun.[8] These ensembles consist of various sizes of tension drums, along with kettledrums (gudugudu). The leader of a dundun ensemble is the iyalu, who uses the drum to "talk" by imitating the tonality of Yoruba[7] Much of Yoruba music is spiritual in nature, and is devoted to their God.

Yoruba music has become the most important component of modern Nigerian popular music, as a result of its early influence from European, Islamic and Brazilian forms. These influences stemmed from the importation of brass instruments, sheet music, Islamic percussion and styles brought by Brazilian merchants.[9] In both Nigeria's most populous city, Lagos, and the largest city of Ibadan, these multicultural traditions were brought together and became the root of Nigerian popular music. Modern styles such as Ayinde Barrister's fuji, Salawa Abeni's waka and Yusuf Olatunji's sakara are derived primarily from Yoruba traditional music. Many contemporary Yoruban musicians sing in their native language. 9ice is one of many that broke into the industry with Gongo Aso. UK-based saxophonist Tunday Akintan created yorubeat based on Yorb rhythms. Timi Korus, Babe mi Jowo, and Flosha rap and sing in Yoruba.

Nigerian theatre makes extensive use of music. Often, this is simply traditional music used in a theatrical production without adaptation. However, there are also distinct styles of music used in Nigerian opera. Here, music is used to convey an impression of the dramatic action to the audience. Music is also used in literary drama, although its musical accompaniment is more sparingly used than in opera; again, music communicates the mood or tone of events to the audience. An example is John Pepper Clark's The Ozidi Saga, a play about murder and revenge, featuring both human and non-human actors. Each character in the play is associated with a personal theme song, which accompanies battles in which the character is involved.

Traditional Nigerian theatre includes puppet shows in Borno State and among the Ogoni and Tiv, and the ancient Yoruba Alrnj tradition, which may be descended from the Egngn masquerade. With the influx of road-building colonial powers, these theatre groups spread across the country and their productions grew ever more elaborate. They now typically use European instruments, film extracts and recorded music.

In the past, both Hubert Ogunde and Ade Love produced soundtracks for their movies using very rich Yoruba language. Modern-day Yoruba film and theater music composers among whom Tope Alabi is the flagbearer have variously accompanied dramatic actions with original music.

Since the introduction of television in 1959, the growing television and film industries have sourced a large amount of their artists and musical structure from Nigeria's extensive indigenous theater, which, in turn, evolved from festivals and religious ceremonies.[10] Early television dramas in this era utilized folklore and songs from popular indigenous genres such as Nigerian highlife, as well as indigenous languages including Igbo, Yoruba, and so on.[11] With the advent of Nigeria's film industry, controversially referred to as Nollywood, in the early 1990s, many of these TV producers simultaneously worked in film production, spreading this technique of indigenous sourcing to film scoring.[11] Following an era defined by influences from European and North American art, the Nigerian film industry evolved a unique method of film scoring called prefiguring.

Although percussion instruments are omnipresent, Nigeria's traditional music uses a number of diverse instruments. Many, such as the xylophone, are an integral part of music across West Africa, while others are imports from the Muslims of the Maghreb, or from Southern or East Africa; other instruments have arrived from Europe or the Americas. Brass instruments and woodwinds were early imports that played a vital role in the development of Nigerian music, while the later importation of electric guitars spurred the popularisation of jj music.

Various bells are a common part of royal regalia, and were used in secret societies. They are usually made of iron, or in Islamic orchestras of the north, of bronze. Struck gourds, placed on a cloth and struck with sticks, are a part of women's music, as well as the br cult dances. Sometimes, especially in the north, gourds are placed upside-down in water, with the pitch adjusted by the amount of air underneath it. In the south-west, a number of tuned gourds are played while floating in a trough.

The musical bow is found in Nigeria as a mouth-resonated cord, either plucked or struck. It is most common in the central part of the country, and is associated with agricultural songs and those expressing social concerns. Cereal stalks bound together and strings supported by two bridges are used to make a kind of raft zither, played with the thumbs, typically for solo entertainment. The arched harp is found in the eastern part of the country, especially among the Tarok. It usually has five or six strings and pentatonic tuning. A bowl-resonated spike-fiddle with a lizard skin table is used in the northern region, and is similar to central Asian and Ethiopian forms. The Hausa and Kanuri peoples play a variety of spike-lutes.

Many African countries have seen turbulence and violence during their forced transition from a diverse region of folk cultures to a group of modern nation states. Nigeria has experienced more difficulty than most African countries in forging a popular cultural identity from the diverse peoples of the countryside.[13] From its beginnings in the streets of Lagos, popular music in Nigeria has long been an integral part of the field of African pop, bringing in influences and instruments from many ethnic groups, most prominently including the Yoruba.

The earliest styles of Nigerian popular music often referred to as Naija Music [14] were palm-wine music and highlife, which spread in the 1920s among Nigeria and nearby countries of Liberia, Sierra Leone and Ghana. In Nigeria, palm-wine became the primary basis for jj, a genre that dominated popular music for many years. During this time, a few other styles such as apala, derived from traditional Yoruba music, also found a more limited audience. By the 1960s, Cuban, American and other styles of imported music were enjoying a large following, and musicians started to incorporate these influences into jj; intermingling of Hausa populations with Middle Eastern communities in cities south of the country notably introduced them to Bollywood and its music.[15] The result was a profusion of new styles in the last few decades of the 20th century, including waka music, Yo-pop and Afrobeat. 006ab0faaa