Sociopolitical Relevance of Nigerian Music, the summary of chapters
This chapter focuses on the sociopolitical relevance of Nigerian music by examining how artists have been able to use the institution of music an instrument of evaluating the society. It has been argued that music does not just serve entertaining functions, it also plays didactic roles in the society. Through music, the oral complexities of the preliterate era has been handed down to subsequent generations, hence serving humanity has a repository of historical documents. Musicians therefore are regarded as social critics who appraise the society, locate the basis of encountered human challenges and proffer solutions where necessary.
Chapter one begins by asserting music as a valid genre of literature since it is a form of literary expression. The same way poetry or prose serves the writer as a means of communicating his intention, music also accords the musician the platform of articulating his personal and sometimes communal views. Music being primarily a verbal amalgam of melody, harmony, tone and silence is pigeonholed as a very relevant part of oral literature. The chapter also defines society and the interconnections that exist between the society and its music institution. Music does not exist in a vacuum but within the cyclic continuum of the community. As a complex art form, it encloses a major aspect of the cultural specificities of the people as well as their belief systems, political organization, philosophical reflections and religious worldviews.
The three musicians used as case studies are Bukola Elemide (Asa), Alexander Ajifolaji (9ice), Bisade Ologunde (Lagbaja). The songs examined are Fire on the Mountain, Iya Ni, Petepete, 200 Million Mumu (part 1 and 3).
Music is seen as a means of entertainment, a platform for education and an instrument of sociopolitical criticism. The various types of music which have developed over time include classical music, blues, children song, hip hop, jazz etc.
It is also expedient to state that the theoretical tenets of the sociological theories provide this project the systemic principle through which the analyses of the songs are done. By subscribing to the ideologies of sociological theories like Marxism, historicism, post-colonialism, biographical criticism etc, the sociopolitical relevance of the aforementioned songs are brought to fore with the aim of identifying musicians as chroniclers of their history, critics of social events and custodians of their culture.
Chapter two ends with a brief overview of the historical development of music in Nigeria. Traditional music is said to be the oldest form of Nigerian music which is already a critical part of the pre-colonial era. Other forms of musical genre which developed overtime as a result of the blend between the existing music tradition and westernization include: Juju, Apala, Reggae, Highlife, Rock N’ Roll, Hip Hop etc.
The sociopolitical relevance of Bisade Elemide (Asa) and Alexander Ajifolaji (9ice) are examined in the third chapter through some of their selected songs. Petepete appraises a society that is populated by selfish politicians and corrupt citizens. It addresses themes like economic hardship, social upheaval, and political instability. There is Fire on the Mountain by Asa enlightens us on a nation at the brink of destruction using the proverbial fire on the mountain as a looming doom capable of ruining lives and properties if not checked. Just like Petepete, it condemns the recklessness of the people and the imprudence with which issues of such gravity are handled. In the same vein, Iya Ni by Asa continues probing into the realities of our contemporary society eliciting specific concern that affects the general population. It is a song which laments the economic hardship young and vibrant Nigerians are subjected to.
Chapter four proceeds to appraise two of Lagbaja’s songs: 200 Million Mumu (part 1 and 3). With these songs, Lagbaja criticizes the populace for their direct and indirect role in the depression experienced in the country today. He believes the total breakdown of moral institution in the society has instigated a population of deformed characters who are most likely to fail in positions of authority. He wants us to take responsibility and stop pointing accusing fingers at politicians who are only products of a corrupt community.
The major focus of this work is therefore to place music as a relevant art institution through which the totality of a people’s worldview can be understood. It has been shown that musicians are critics who use their artistic skills as a social and political tool by critically evaluating the society, checking the excesses of the leaders and followers alike and suggesting the way forward toward a progressive State.
RECOMMENDATIONS
Since it has been justified that musicians are also critics of sociopolitical importance, it is recommended that the music industry be given such similar attention enjoyed by literary criticism and more scholarly resources be channeled towards the analyses and evaluation of musical productions to elicit the wisdom embedded in them. This will not only foster the expansion of scholarship but also provide us with a totally new dimension of perceiving our social and political challenges and the suggested way forward.
TABLE OF CONTENTS
Title Page I-II
Certification III
Dedication IV
Acknowledgements V
Abstract VI
Table of Contents VII-XI
Music, Literature and Society 1-4
CHAPTER TWO
SECTION ONE
Music as A Means of Entertainment 16
Music as A Means of Education 17
Music as an Instrument of Socio-Political Criticism 18-19
SECTION TWO
SECTION THREE
CHAPTER THREE: THE THEMATIC APPRAISAL OF 9ICE’S AND ASA’S SONGS
A Critical Appraisal Of 9ice’s Musical Style 32-34
PETEPETE
Post-Colonial Disillusionment 35-36
Social Recklessness and Its Effects 37-38
THERE IS FIRE ON THE MOUNTAIN
Political Instability and Insecurity 43-45
Cultural and Moral Decadence 47-48
IYA NI
Sociopolitical Servitude 51-52
CHAPTER FOUR: A CRITICAL ANALYSIS OF LAGBAJA’S SONGS
An Appraisal of Lagbaja Musical Style 53-54
The Roles of the Citizens in a System of Corruption 55-57
Relevance of His Masked Tradition 57-58
Criticism of the Social Culture of Scapegoatism 58-60
Restoration of Moral Values as the Way Forward 60-61
200 MILLION MUMU (PART THREE)
Political Avariciousness 62-63
CHAPTER FIVE
Conclusion 69-70
Recommendations 71
Works Cited 71-74
Appendices 75-83WORKS CITED
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