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Igbo Christian Music (also referred to as Igbo gospel music) is an Igbo traditional musical genre written, performed, and sung to narrate or express Christian faith, values, or topics.[1] The genre is vibrant and spiritually uplifting. It combines Christian religious themes such as Praise, hymnals, worship, and other Christian themes with traditional Igbo musical/cultural versions or elements.[2][3] It reflects the fusion of faith, cultural identity, and musical expression within the Igbo Christian community.[4]

Igbo culture includes the various customs, practices and traditions of the people. It comprises archaic practices as well as new concepts added into the Igbo culture either through evolution or outside influences. These customs and traditions include the Igbo people's visual art, use of language, music and dance forms, as well as their attire, cuisine and language dialects. Because of their various subgroups, the variety of their culture is heightened further.

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The Igbo people have a musical style into which they incorporate various percussion instruments: the udu, which is essentially designed from a clay jug; an ekwe, which is formed from a hollowed log; and the ogene, a hand bell designed from forged iron. Other instruments include opi, a wind instrument similar to the flute, igba, and ichaka.[153] Another popular musical form among the Igbo is highlife. A widely popular musical genre in West Africa, highlife is a fusion of jazz and traditional music. The modern Igbo highlife is seen in the works of Dr Sir Warrior, Oliver De Coque, Bright Chimezie and Chief Osita Osadebe, who were among the most popular Igbo highlife musicians of the 20th century.[154]

Masking is one of the most common art styles in Igboland and is linked strongly with Igbo traditional music. A mask can be made of wood or fabric, along with other materials including iron and vegetation.[155] Masks have a variety of uses, mainly in social satires, religious rituals, secret society initiations (such as the Ekpe society) and public festivals, which now include Christmas time celebrations.[156] Some of the best known include the Agbogho Mmuo (Igbo: Maiden spirit) masks of the northern Igbo which represent the spirits of deceased maidens and their mothers with masks symbolizing beauty.[155] Other impressive masks include northern Igbo Ijele masks. At 12 feet (3.7 m) high, Ijele masks consist of platforms 6 feet (1.8 m) in diameter,[155] supporting figures made of coloured cloth and representing everyday scenes with objects such as leopards. Ijele masks are used for honoring the dead to ensure the continuity and well-being of the community and are only seen on rare occasions such as the death of a prominent figure in the community.[155]

In 1978, after Olusegun Obasanjo's military regime lifted the ban on independent political activity, the Ohanaeze Ndigbo organization was formed, an elite umbrella organization which speaks on behalf of the Igbo people.[197][198] Their main concerns are the marginalization of the Igbo people in Nigerian politics and the neglect of indigenous Igbo territory in social amenities and development of infrastructure. Other groups which protest the perceived marginalization of the Igbo people are the Igbo Peoples Congress.[199] Even before the 20th century, there were numerous Igbo unions and organizations existing around the world, such as the Igbo union in Bathurst, Gambia in 1842, founded by a prominent Igbo trader and ex-soldier named Thomas Refell. Another was the union founded by the Igbo community in Freetown, Sierra Leone by 1860, of which Africanus Horton, a surgeon, scientist and soldier, was an active member.[200]

This gospel standard, which was written by the influential gospel composer Thomas Andrew Dorsey, has been covered by numerous leading musicians, including Little Richard and Elvis Presley. In 1960, country music singer Tennessee Ernie Ford had a hit with it for Capitol Records.

Louis Armstrong brought emotion and depth to this powerful spiritual song, written during the period of slavery and published in 1867. The song has been popular with other jazz musicians, and among noted cover versions are those by Harry James and, more recently, Dr. John, in his tribute album to Satchmo.

Robert Plant and Randy Travis have both sung versions of this traditional spiritual, but the finest version is the tour-de-force live one by Ry Cooder And The Chicken Skin Band. A haunting example of roots music gospel.

Also feel strongly Australian Artist Geoffrey Gurrumul Yunupingu is one of the greatest ever singer/songwriter guitarist to play deeply soulful gospel emotional beautiful songs. Many in his own Yolnu language being various dialect via Australian North East Armhem land. Talented on so many levels, Gurrumul resonates deep with music lovers the world over.

Although Baldassare Galuppi was arguably the best known and most successful Italian composer of the eighteenth century, his name, his history, and his works have been relinquished to the periphery of the historiographical narrative. While Galuppi's masses, operas, and solo motets have been examined, his vespers psalms have been neglected by previous musicologists; most of the existing studies have been superficial, with little consideration of important questions such as formal approach, stylistic development, compositional idiosyncrasies, questions of authenticity, or what those factors might collectively tell the twenty-first-century musicologist about music in settecento Venice.

Congregational singing is a participatory vocal practice undertaken by Christians across a wide range of denominations, yet the specific qualities and active capacities of the congregational voice have yet to be investigated. Drawing on recent musicological and philosophical perspectives on voice, I theorize the congregational voice as an active practice, illuminating its abilities to do something in worship through sound.

A study of inculturation, composition and music among Catholics in Igboland, Nigeria. The article insects with contemporary discussions of inculturation/enculturation after Vatican II and the recommendation of St. John Paul II in his Ecclesia in Africa.

The purpose of this research is to prove that conflict in church music is nothing new. Even in the time of the early church fathers, dissenting views on what were acceptable and unacceptable practices in church music were present. The music of the 2nd century through the 14th century is examined. 2351a5e196