THE IMPACT OF MUSICAL DRAMATURGY ON PERFORMANCE AESTHETICS OF ORÍKÌ-ORÍLẸ̀ IN SELECTED YORÙBÁ COMMUNITIES IN NIGERIA

Abstract

Oríkì performance enlivens the cultural life of the Yorùbá people. Through it, some measure of social control and cohesion among the people is ensured. Despite the importance of Oríkì among the people, major ethnomusicological researches on Oríkì-Orílẹ̀ have not been exhausted. Therefore, this study, musical dramaturgy of Oríkì-Orílẹ̀ in selected Yorùbá land in Nigeria fills the gap by theorizing on the composition and performance of Oríkì-Orílẹ̀. The study aimed at bringing the impact of musical dramaturgy of Oríkì on the performance aesthetics of Oríkì-Orílẹ̀ of Yorùbá people. The objectives of this study were to: (i) identify the types of Oríkì-Orílẹ̀ in Yorùbá culture; (ii) examine the musical dramaturgy of Oríkì-Orílẹ̀ in Yorùbá culture; (iii) explicate the aesthetic features of Oríkì-Orílẹ̀ in content and performance; (iv) engage the musical analysis of Oríkì-Orílẹ̀ and music used in its performance; and (v) evaluate the musical role Oríkì- Orílẹ̀ in the selected Yoruba culture. The descriptive research design and quantitative research method were used for the study. The primary data for the study were got through interviews of both the Oríkì-Orílẹ̀ chanting practitioners and elders in three states of the western geopolitical zone: Oyo, Osun and Ondo and from one state (Kogi) in the north central of Nigeria. Secondary data were collected through library, archive and internet. The gathered data were analysed through transcription of chants. Songs accompanying Oríkì were transcribed and analysed using the Functionalism Theory of Arts (FTA) by Christopher Caudwell (1937) as its framework. The findings of this study were that: there are three types of Oríkì-Orílẹ̀ in Yorùbá land such as, Oríkì-Orílẹ̀, Oríkì-ìdílé and Oríkì-ìlú Musical dramaturgy of Oríkì-Orílẹ̀ chanting reflects speech tone patterns and inflections as obtainable in Yorùbá culture and largely depends on voice quality and dexterity of individual chanter, long verse form, stepwise notes of seconds, voicing in chanting and fast rhythmic patterns are features of Oríkì-Orílẹ̀; various Oríkì-Orílẹ̀ as performed and recorded have been transcribed, notated and analysed for musicological and ethnomusicological scholarship; and the musical roles of Oríkì-Orílẹ̀ in Yorùbá culture which are training of the young, worship of various deities, and maintaining good moral standard in the society are effectively played in its engagements. The study concluded that Oríkì-Orílẹ̀ is a dynamic part of the music culture of the Yorùbá people as it follows cultural dynamism. The study recommended that Oríkì-Orílẹ̀ should be practiced more often in schools and communities in order to make the youths imbibe its features for better societal virtues. Moreover, researches on traditional practices in other cultural areas of Nigeria should be encouraged to maintain good morals and sanity among citizens.