DYNAMICS OF ÀGÍDÌGBO MUSIC AMONG THE YORÙBÁ OF SOUTHWESTERN NIGERIA

Abstract

The Yorùbá traditional lamellophone known as àgídìgbo is a box-type thumb piano and a musical genre whose composition is richly crafted in Yorùbá philosophy and laden with proverbs and parables. Existing studies on àgídìgbo have centred more on its description and classificatory modes than on the philosophical messages embedded in the music as well as the dynamics of its technology and performance practice. This study, therefore, investigated the musico-philosophical nuances in àgídìgbo music among the Yorùbá of Southwestern Nigeria and observable changes in its instrumental technology and performance occasioned by modernity.

The ethnomusicological study was anchored to the theory of continuity and change. Purposive technique was used to select four cities: Ibadan and Eruwa in Oyo State, Iwo in Osun State, and Abeokuta in Ogun State, where àgídìgbo music features prominently. Key informant interviews were conducted with three notable àgídìgbo exponents and three makers of the instrument. Three focus group discussions were conducted with members of purposively selected àgídìgbo bands, and participant observation technique during social ceremonies was also used. Data were subjected to content and musicological analyses.

The Ọmọlúàbí philosophy as expressed in ìjúbà (homage) and related nuances such as, owe (proverbs), maxims and parables are dominant features of àgídìgbo music which have not waned despite emerging changes in its social scope. The constituent elements of Ọmọlúàbí such as ìwà pẹ̀lẹ́ (gentleness), ìtẹ́lorùn (contentment), ìtẹpamosẹ (hardwork), ìtẹriba (humility) and ìfàyàrán (perseverance), among others, were articulated in the music. Membership recruitment into àgídìgbo band was guided by an attribute known as làákáyè (intelligence). The use of euphemism was more pronounced in the older àgídìgbo music compared to its new form. Predominant compositional techniques included: direct repetitions, sequences and truncations of melodies, and complimentary rhythmic patterns for accompaniments. Their structures were largely characterised by responsorial and strophic forms overlaid with speech rhythm. Dynamics in the construction of àgídìgbo suggested a gradual shift from indigenous technological practices to modern form in terms of physical structure. The adoption of plywood as frame in place of the wooden shell, and iron sheets instead of wire from unserviceable turn-table machine made the new instrument to be lighter in weight and affordable compared to the old form. Samples of àgídìgbo found in Eruwa were much bigger than those in other communities. Changes in performance practice of àgídìgbo were made possible by artistes’ ingenuity as demonstrated by re-invention of new performance contexts. Apart from the introduction of Western musical instruments such as the keyboard and trap drum set, the form of new àgídìgbo music appeared syncretic while its former state as voluntary performance at social events gradually became commercialised. In spite of its declining status, àgídìgbo music continues to exist by the sideline with its successors: highlife and juju musical genres.

Modernisation has impacted àgídìgbo music in terms of its instrumental technology, performance contexts and practice among the Yorùbá of Southwestern Nigeria. The level of adaptability and retention of its core practice has enhanced its sustenance despite evolving changes in the Nigerian musical landscape.