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Afrobeat is a Nigerian music genre that involves the combination of West African musical styles from mainly Nigeria such as the traditional Yoruba and Igbo music and highlife with American funk, jazz, and soul influences. With a focus on chanted vocals, complex intersecting rhythms, and percussion. The style was pioneered in the 1960s by Nigerian multi-instrumentalist and bandleader Fela Kuti, who is most known for popularizing the style both within and outside Nigeria. At the height of his popularity, he was referred to as one of Africa's most "challenging and charismatic music performers."
Michael Babatunde Olatunji was a Nigerian drummer, educator, social activist, and recording artist.
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. The country's most internationally renowned genres are Indigenous, Apala, Aurrebbe music, Rara music, Were music, Ogene, Fuji, Jùjú, Afrobeat, Afrobeats, Igbo highlife, Afro-juju, Waka, Igbo rap, Gospel, 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. 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. 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.
Fela Aníkúlápó Kútì, also famously known as Abàmì Ẹ̀dá, was a Nigerian musician, bandleader, composer, political activist, and Pan-Africanist. He is regarded as the King of Afrobeat, a Nigerian music genre that combines West African music with American funk and jazz. At the height of his popularity, he was referred to as one of Africa's most "challenging and charismatic music performers". AllMusic described him as "a musical and sociopolitical voice" of international significance.
Chief Sunday Adeniyi Adegeye, known professionally as King Sunny Adé, is a Nigerian jùjú singer, songwriter and multi-instrumentalist. He is regarded as one of the first African pop musicians to gain international success, and has been called one of the most influential musicians of all time.
Palm-wine music is a West African musical genre. It evolved among the Kru people of Liberia and Sierra Leone, who used Portuguese guitars brought by sailors, combining local melodies and rhythms with Trinidadian calypso to create a "light, easy, lilting style". It would initially work its way inland where it would adopt a more traditional style than what was played in coastal areas.
Fújì is a popular Yoruba musical genre. It arose from the improvisational wéré music, also known as ajísari, a genre of music performed to wake Muslims before dawn during the Ramadan fasting season. Alhaji Sikiru Ayinde Barrister popularized wéré music during the 1950s and 60s and conceived the term "fújì" in an unusual way. According to Barrister, "I came up with it when I saw a poster at an airport, advertising the Mount Fuji, which is the highest peak in Japan." Fújì should not be mistaken for the Yorùbá words "fuja" or "faaji," which mean leisure or enjoyment.
Jùjú is a style of Yoruba popular music, derived from traditional Yoruba percussion. The name juju from the Yoruba word "juju" or "jiju" meaning "throwing" or "something being thrown". Juju music did not derive its name from juju, which is a form of magic and the use of magic objects, common in West Africa, Haiti, Cuba and other South American nations. It evolved in the 1900s in urban clubs across the countries, and was believed to have been created by Ababababaa Babatunde King, popularly known as Tunde King. The first jùjú recordings were by King and Ojoge Daniel in the 1920s, when King pioneered it. The lead and predominant instrument of jùjú is the Iya Ilu, talking drum.
Ebenezer Remilekun Aremu Olasupo Obey-Fabiyi, known professionally as Ebenezer Obey, is a Nigerian jùjú musician.
The Batá drum is a double-headed hourglass drum with one end larger than the other. The percussion instrument is still used for its original purpose as it is one of the most important drums in the Yoruba land and used for traditional and religious activities among the Yoruba. Batá drums have been used in the religion known as Santería in Cuba since the 1800s, and in Puerto Rico and the United States since the 1950s. Today, they are also used for semi-religious musical entertainment in Nigeria and in secular, popular music. The early function of the batá was as a drum of different gods, of royalty, of ancestors and a drum of politicians, impacting all spheres of life in Yoruba land.
Yoruba music is the pattern/style of music practiced by the Yoruba people of Nigeria, Togo, and Benin. It is perhaps best known for its extremely advanced drumming tradition and techniques, especially using the gongon hourglass shape tension drums. Yoruba folk music became perhaps the most prominent kind of West African music in Afro-Latin and Caribbean musical styles; it left an especially important influence on the music used in Santería practice and the music of Cuba.
Yusuf Olatunji, also known as Baba Legba or Baba L’Egbaa, was a Nigerian Sakara drum player, who popularized the sakara music style. He was purportedly born in 1905 or 1906 in a village called Gbegbinlawo in Ogun State in south-western Nigeria, although there are still doubts about the location of his birth. His mid-life conversion to Islam boosted his career in Yoruba music. He was born a Christian and he hailed from Iseyin in Oyo State. He was formerly known as Joseph Olatunji. He started his career in 1937 with his first record and he joined Abibu oluwa band in 1927.
The agidigbo or ‘’’molo’’’ is a large traditional plucked lamellophone thumb piano used by the Yoruba people of Nigeria to play apala music.
The G.V. Series were a series of 10 inch 78 rpm Gramophone records produced in Europe and the United States from 1933 to 1958, and exported to colonial Tropical Africa. They are credited with introducing Afro-Cuban music into modern African popular culture. The resulting re-interpretations influenced the creation of several genres of African popular music.
The Sakara drum is one of the four major families of Yoruba drums of Nigeria. The other families are the Dundun/Gangan or talking drum, the Batá drum and the Gbedu drum. Each family includes drums of different sizes, with the mother drum playing the lead role and other drums playing in support. The Sakara is also made and used by the Hausa people of northern Nigeria.
Sakara music is a form of popular Nigerian music based in the traditions of Yoruba music. It mostly in the form of praise songs, that uses only traditional Yoruba instruments such as the solemn-sounding goje violin, and the small round sakara drum, which is similar to a tambourine and is beaten with a stick. Sakara music overlays the nasalized, melismatic vocals of Eastern Africa and Arabic on the traditional percussion instruments. The music is often brooding and philosophical in mood.
Aṣíkò (Ashiko) is a musical genre similar to sákárà music from Nigeria, West Africa. Aṣíkò was the Christian version of sákárà (Sakara).
Waidi Ayinla YusufGbogbolowo better known as Ayinla Omowura was a Nigerian Apala musician born in Itoko, Abeokuta in 1933.
Amanda Villepastour is an Australian ethnomusicologist and former professional musician. She is best known for being the keyboardist of the Australian new wave band Eurogliders between 1980 and 1987, and for her 21st-century research work and publications on Yorùbá music in Nigeria, and Afro-Cuban religious (Santería) music in Cuba.
Jaigbade Alao whose birth name is Muhammad Àmínù Kúrángà was a Nigerian musician from the North Central part of Nigeria. He is the progenitor of the Dadakuada genre of music, which he started in 1939 and in December 2022, he was recognised by the Kwara State Government as one of the most distinguished personalities in the state.
References
- 1 2 Stone, Ruth, ed. (2008). "Yoruba Popular Music". The Garland handbook of African music. Ruth M. Stone (2nd ed.). New York. p. 202. ISBN 978-0-203-92787-8. OCLC 890136459.
{{cite book}}: CS1 maint: location missing publisher (link) - ↑ Randle, Bashorun (2022-01-17). "Sakara music for my birthday". Businessday NG. Retrieved 2022-10-31.
- ↑ Bada, Sheriff Owolabi (2020-07-14). "Top five Apala music maestros who ruled western Nigeria from '40s to late '80s". SOMOLU NEWSPAPER. Retrieved 2022-10-31.
- ↑ "West Africa, Odeon A 248500-248551 – afrodisc.com" . Retrieved 2022-11-01.
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