TABLE OF CONTENTS
Content Page
Title Page i
Certification ii
Dedication iii
Acknowledgements
iv
Table
of Contents v
CHAPTER ONE:
INTRODUCTION 1 11
1.1 Background to the Study 1
1.2 Statement of the Problem 2
1.4 Research Questions 3
1.5 Significance of the Study 4
CHAPTER FIVE: SUMMARY, CONCLUSION AND
RECOMMENDATIONS
5.0
Introduction 35
5.1
Summary 35
5.2
Conclusion 36
5.3
Recommendations 36
References 38
Appendices 39
CHAPTER ONE
INTRODUCTION
1.1 Background to the Study
Musical
practices had been aesthetically woven into the fabrics of the everyday life
experiences of the traditional Nigerians. The emergence of the European
colonialism in the middle of the nineteenth century, which coincided with the
advent of Christianity through the European missionaries were largely
responsible for the various musical styles, forms, and idioms of expression.
During this period, the Church Missionary Society (CMS) was established with
their first mission in Badagry in 1845, and a year later in Abeokuta. Other missions
included the Methodists at Badagry, 1842; the Baptists at Ijaiye, 1853; the
Catholics at Lagos, 1867; and the Seventh-Day Adventist church (SDA) at Erunmu
in 1932. The SDA mission later spread to other parts of the Yoruba speaking
South-West Nigeria, among which is the Seventh Day Adventist church, Irefin,
Ibadan.
According
to Omojola (1994) “the use of music for the purpose of communion with God in
the church represents a continuity of, rather than a break from traditional
African norms”. In which case, in the traditional African religious worship,
there were specialised musicians attached to a specific ritual practice. This
practice is not different with the Christian church experience, hence the
formation of choirs in the Nigerian churches being the custodians of the music
repertoire used in the various orthodox churches. However, a major identifiable
challenge faced by the Christian churches in Nigeria is that of achieving a
uniform mode of worship and liturgical practices, especially in the area of
music ministration in the various churches. The Seventh Day Adventist mission
in Nigeria is not left out of this challenge. This situation becomes more
complicated since there is no dedicated ministry in charge of music
administration within the internal organisation of the church mission in
Nigeria. It is therefore difficult to moderate music ministration across the
various SDA churches in Nigeria and especially among the Yoruba speaking South
West, the area of study.
1.2 Statement of the Problem
Music
has become a vital part of the liturgy of the Seventh Day Adventist church in
Nigeria and across the globe where the church has its various missions. Albeit
this significant role of music in the liturgy of the church, however, its
performance practice has been generally variegated across the various churches,
especially in Nigeria, an undisputed heterogeneous society. One therefore bound
to witness highly diversified musical performances, both in the songs
ministration and the instrumentation. While some SDA churches among Yoruba
speaking South West part of Nigeria highly favoured purely western musical
instruments such as the piano, organ, and digital keyboard, some would in
addition to the keyboard instruments employ the use of string instruments, such
as the violins and wind instruments such as the trumpet, trombone and the
saxophones.
However,
some SDA churches located within the non-English speaking rural areas would
rather engage the use of indigenous musical instruments available within their
locality to accompany songs from the SDA Hymnal (translated edition) and the
native airs. The SDA church Irefin, being a district headquarters, is noted for
combining both the western and indigenous forms and styles in its music
ministration, manifested in its songs and instrumentation. In the light of the
foregoing, it becomes imperative to examine use of music in this church under
study and to document such musical practices in print for posterity.
1.3 Objectives of the Study
The
main objective of the study is to examine the music ministration of SDA church,
Irefin, Itutaba, Ibadan.
Specific objectives are to:
i.
Examine the
use of music in Irefin SDA church.
ii. Provide
information on songs and musical instruments employed in the church. iii. Categorise
the music into types and themes.
iv. Transcribe
and translate some selected songs used in the church service for textual and
musical analysis.
v. Determine
if there are challenges emanating from the music ministration of the church.
vi. Examine
factors responsible for these challenges.
vii. Evaluate
the impact of these challenges on the music ministration of the church.
1.4 Research Questions
i.
How
is music used in the church services?
ii. What
type of songs and musical instruments are employed in the services of the
church?
iii.
What are the various themes into which the music
can be categorised? iv. Are there identifiable distinguishing trends in the songs
selections of the church?
v. What are the challenges emanating from
the use of music in the church services? vi. What are the factors responsible for
creating the challenges?
vii. What
is the impact of these challenges on the quality of music ministration of the
church?
1.5 Significance of the Study
Although
a sizeable number of study had been carried out on the use of music in churches
and their worship styles, and the origin and growth of SDA church in Nigeria,
no scholarly work yet exists that focuses majorly on the use of music in the
liturgy of SDA church, Irefin, Itutaba, Ibadan.
This study is significant because attempts are made to locate the music
ministration of SDA church, Irefin within its socio-cultural milieu. Secondly,
the study examines the type of songs and musical instruments employed in its
worship, and categorises them into identifiable themes. Finally, the study
identifies the challenges emanating from the music ministration, factors
responsible for creating them, and the impact on the overall musical performances.
1.6 The Scope of the Study
The
scope of this study is limited to the music ministration of SDA church, Irefin,
Itutaba, Ibadan. The type of songs and musical instruments employed and their
thematic categorisations were identified. The challenges of music ministration,
factors responsible for them and their impact were also examined.
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