Nigerian Gospel Music 2023 Download

Delineation between Nigerian gospel and secular music has been a subject of academic debate over the years, the current state of the two genres in the area of performance most times makes it almost impossible to differentiate between the two. In terms of instrumentation, performance practice, mannerism, dance movement and many more, there seems not to be a dividing line between the two even though they are separate genres of music. It is against this backdrop that this paper explores the features of both Nigeria gospel and secular music. This is to determine the boundary line between gospel and secular music. It will also serve as a background and establish a platform to build the argument on the hybridisation of Christian gospel music in Nigeria.

Music does not exist in vacuum. Rather it influences and is influenced by a variety of factors within its sociopolitical and geographical context. As an element of culture, music connects people among whom it evolves. The association of music with social and ritual ceremonies has been observed to be central to African music by Akpabot (1986: 1). The association of the music culture with religious activities and festivals within a society makes the influence of religion on music almost inevitable. Mbiti (1980: 262) asserted that it is religion, more than anything else which colors the African's understanding of the universe and their empirical participation in that universe, making life a profoundly religious phenomenon. Agbo and Keke (2013: 259) also submitted that to say that music influences the religion of Africa or vice versa is merely an isomorphic statement because religion and music are two indivisible superstructures that constitute the culture of the Africans. Music derives strength from the culture that regulates its emergence, performance, patronage and continuity. This is so because, according to Blacking (1973: 60), music is a product of human behavior.

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The Nigerian gospel musicians and the popular musicians operate within the same Transcultural field and are therefore both affected and influenced by the same realities of existence. These two equally influence each other in some ways that become manifested in their arts, acts and activities. The impact of popular culture on musical activities including gospel music can therefore not be ignored. This impact is evident in the use of media, the execution of gospel music as an art form greatly influenced by secular art especially music and fashion, and the sociopolitical and economic realities of the society. This chapter therefore examines the intersections of popular culture and the Nigerian gospel music with particular reference to areas of influence on each other.

This 40-minute performance is an acapella arrangement of diverse Nigerian gospel tunes in English, Nigerian Pidgin, Yoruba, and Igbo. The arrangement employs a medley mode, in both praise and worship styles, to evoke Nigerian gospel performance orientations targeting senses of spirituality, sociability and community bonding. Music and Joint-Course students showcase skills in lead singing, call-and-response, improvisation, syncopation, singing-movement coordination and code-switching. While being respectful of the music tradition in question, they also present their own creative touches upon the repertoire, evoking, in turn, a rather intercultural encounter.

As the Afropop movement takes on the world, topping charts and gaining international accolades, Nigerian gospel is doing the same. Culture Journalist, Ify Obi guides us through the evolution of Nigerian gospel music, from its birth, to its global appeal, and beyond.

Gospel music in Nigeria dates back to the 16th century. At this time, the Portuguese catholic missionaries arrived in the ancient Benin kingdom for their evangelical mission, and with their arrival came the introduction of liturgical music. This music was often unaccompanied and contained very limited tunes, so it did not fare well with the people. What would, however, form the basis of what we now know today as Nigerian gospel music began to take form until the 19th century. The coming of the UK based Church Missionary Society (CMS) created wide-spread evangelism across Nigeria and choral music was introduced. Not long after, a Nigerian version was born out of a style and rhythm that was unique to the rich culture of its indigenous listeners, pioneered by Reverend Josiah J. Ransome-Kuti (grand-father of Fela Ransome-Kuti), who, as church organist of the St. Peter Church, Ake, Abeokuta, fused choral music with Yoruba and new rhythmic structures.

There is clearly a growing space for Nigerian music in the global music market right now. As the Afrobeats movement takes on the world, topping charts and gaining international accolades, Nigerian gospel is doing the same, albeit in its own way.

The global growth of the Afropop movement was mainly reliant on the rise of internet culture, evolution of digital technology, and the age of DSPs such as YouTube, SoundCloud, and Apple Music. Gospel, on the other hand, always had an invaluable edge: the international expansions of Nigerian Pentecostal churches and communities. From The Redeemed Christian Church of God (RCCG) to Mountain of Fire and Miracle Ministry (MFM) many Pentecostal denominations have, over time, established communities in key countries around the world particularly the U.K and the United States. The international leap for Nigerian gospel music was a natural given.

The year may be 2020, but the Nigerian music industry still remains heavily male-dominated. You can comfortably count on one hand the number of women who are slightly in the reigns and even at that these women rarely receive as much recognition or visibility as male musicians do. However, the same can hardly be said of its gospel sub-genre. Speaking on the cultural impact of the gospel music industry, it is difficult to overlook the influence of its women. I mean if there is any doubt, you can take a look back at the beginning of this story.

Like a newly-formed butterfly finding its way out of the cocoon, gospel music in Nigeria is steadily breaking free of traditional stylistic limitations and is soaring to new heights. Today, its leading artists incorporate the forms of other popular music genres like pop, jazz, rock, r&b, rap, and even afropop in their music; though not without a few criticisms. Purists are of the opinion that the gospel community is conforming to the ideals of secularism in order to appeal to larger audiences for financial gain.

These Nigerian Afrobeats Songs Are Turning 10 Years In 2023 These Nigerian Afrobeats Songs Are Turning 10 Years In 2023. In this article, TrendyBeatz takes a long nostalgic trip down memory lane to curate a list of songs that turned a decade in this new year, 2023. Here's a TrendyBeatz curated list of songs that made 2013 a stellar year for the Nigerian music scene.

Fear Women: 10 Nigerian Songs That Preach The Gospel Better Fear Women: 10 Nigerian Songs That Preach The Gospel Better. In this article, TrendyBeatz curated a list of ten Nigerian songs that preach the gospel of "Fear Women" in no particular order while reviewing the story behind the lyrics, the context of the theme and the production of each song.

In this blog post, we embark on a harmonious journey to reveal the Top 20 Most Viewed Nigerian Gospel music Videos On YouTube. These videos not only showcase the immense talent of Nigerian artists but also stand as a testament to the unifying and uplifting nature of gospel music in the digital age.

There you have it! This is a comprehensive list of the top 20 most viewed Nigerian Gospel music videos on YouTube. Note that all the figures on this list were recorded at the time of publishing the post, therefore are still subject to change in the nearest future.

He said: Accompanying the rebrand is the unveiling of a brand-new logo that captures the spirit and essence of NIGMA. The logo features vibrant colours, symbolic elements and dynamic typography, all harmoniously blended to represent the diverse tapestry of Nigerian gospel music. It signifies the union of faith, creativity and global recognition, establishing NIGMA as a platform that showcases the best of Nigerian gospel music to the world.

Rooted in history, the Church Music program at Baylor University is dedicated to encouraging excellence in music and ministry through diverse studies. Students in the program are exposed to a rigorous, yet nurturing, learning atmosphere.

The Dunn Center for Christian Music Studies was founded at Baylor University with the intent to provide leadership in all aspects of Christian music. As a preeminent Christian music center, we strive to encourage church musicians to cultivate their God-given potential and endeavor to provide resources for their continued personal development.

Throughout the year, the Center hosts one-day worship workshops in partnership with local churches. Each event is free of charge and available to high-school students with an interest in music and worship ministry.

Students have the unique opportunity to travel across the world to interact with the music of other cultures and to give, share and receive aspects of community present in the culture and faith of other nations.

Gospel music is composed and performed for many purposes, including aesthetic pleasure, religious or ceremonial purposes, and as an entertainment product for the marketplace. Gospel music is characterized by dominant vocals and strong use of harmony with Christian lyrics.

Previously known as The Nigeria Gospel Music Awards, the scheme returns in 2023 after a nine-year hiatus. It recognises outstanding feats in Nigerian gospel music, honouring artists who have made significant contributions to the industry.

NIGMA welcomes participation from gospel artists in Nigeria and those of Nigerian descent living abroad. To be eligible for nomination, submitted works must have been released between January 2022 and August 2023. 006ab0faaa