Textual migration in Ebenezer Obey’s juju music.
This study examines textual migration as one of the principal sources of Ebenezer Obey’sjujumusic in the framework of free borrowing that characterised the oral composition and performances of Yoruba traditional chanters. In indigenous Yoruba societies, in which there was no patent law governing art...
| Publicado en: | African Studies Vol. 77; no. 1; pp. 67 - 87 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Mar2018
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=127963113&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 127963113 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00020184 35L jtl: African Studies issn: 00020184 maglogo: N pubinfo: dt: Mar2018 vid: 77 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 127963113 10.1080/00020184.2018.1430202 ppf: 67 ppct: 20 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.2MB tig: atl: Textual migration in Ebenezer Obey’s juju music. aug: au: Mosobalaje, Adebayo affil: Obafemi Awolowo University su: Obey, Ebenezer, 1942- Musical composition Yoruba (African people) Patent law Music improvisation sug: subj: Obey, Ebenezer, 1942- Musical composition Yoruba (African people) Patent law Music improvisation keyword: improvisation juju myth oral chanter oriki ab: This study examines textual migration as one of the principal sources of Ebenezer Obey’sjujumusic in the framework of free borrowing that characterised the oral composition and performances of Yoruba traditional chanters. In indigenous Yoruba societies, in which there was no patent law governing artistic productions, free borrowing allowed chanters to pick song items from different sources within the context of performance to deck up composition. Obey has expertly made use of this artistic graft herein referred to as textual migration. The study has identified three major sources of textual migration deployed by Ebenezer Obey. The first is from Yoruba oral genres such asoriki(praise poetry), incantatory poetry, festival songs,itan(story) and myths. The second is from Christian oral genres and heritage such as hymnal composition and Christian sermons or evangelical discourses. Obey’s third textual migration derives from Yoruba folk music and older forms of popular music in Yoruba and other parts of the world. Intertextuality and the concept of polyvocality would be used to analyse Obey’s song-poetry. Intertextuality studies interactions between and among texts with a view to establishing the modality of relationship between such texts. Polyvocality is a conceptual notion that posits that individual speakers’ utterances are overpopulated and are largely drawn from various sources that individual speakers might not consciously notice. These theories are therefore appropriate analytical tools to study the artistic graft that operates in Obey’s music. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of African Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: African Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2018 holdings: @attributes: islocal: N |
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