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,Nigerian pop [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.
The Igbo people live in the south-east of Nigeria, and play a wide variety of folk instruments. They are known for their ready adoption of foreign styles, and were an important part of Nigerian highlife.[6] The most widespread instrument is the 13-stringed zither, called an obo. The Igbo also play slit drums, xylophones, flutes, lyres, udus and lutes, and more recently, imported European brass instruments.
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 is one of the most important components 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 combined add to the multicultural musical tapestry 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.
Children in Nigeria have many of their own traditions, usually singing games. These are most often call-and-response type songs, using archaic language. There are other songs, such as among the Tarok people that are sexually explicit and obscene, and are only performed far away from the home. Children also use instruments such as un-pitched raft zithers (made from cornstalks) and drums made from tin cans, a pipe made from a pawpaw stem and a jaw harp made from a sorghum stalk. Among the Hausa, children play a unique instrument in which they beat rhythms on the inflated stomach of a live, irritated pufferfish.[citation needed]
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.
The xylophone is a tuned idiophone, common throughout west and central Africa. In Nigeria, they are most common in the southern part of the country, and are of the central African model. Several people sometimes simultaneously play a single xylophone. The instruments are usually made of loose wood placed across banana logs. Pit- and box-resonated xylophones are also found. Ensembles of clay pots beaten with a soft pad are common; they are sometimes filled with water. Although normally tuned, untuned examples are sometimes used to produce a bass rhythm. Hollow logs are also used, split lengthways, with resonator holes at the end of the slit. They were traditionally used to communicate over great distances.
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. 152ee80cbc
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