Abstract:
This study focused on the functions of Igoru music in Okpe land. It also examined the compositional techniques of the music typology. The primary source for data collection was oral interview. Secondary sources include publications, and records. Unstructured research questions formed basis for the study. The texts of eighty seven (87) songs were transcribed and translated for this study. Fifty songs from this sample were further transcribed in staff notation, for analysis and discussion. At the end of the study, the following findings were made: <ul> <li>Igoru musicians, in their foresight, investigate, evaluate, probe, counsel, warn, and foretell future events in Okpe, to avoid painful experiences, since in traditional Okpe society, life experiences are shared.</li> <li>Most of the themes in Igoru music are derived from the sense of realism than idealism. The songs being quite topical had to be realistic than idealistic in tendency. Various sound and speech elements are put together to make communication effective. </li> <li>Igoru music praises and commends deserving members, in order to encourage those who are doing well in the society to continue in their good deeds, as well as stimulate others to emulate them.</li> <li>The musicians defend their political system, their territorial land mass, traditional religion and themselves from various attacks.</li> <li>Igoru music represents the Okpe identity, thus it was selected amongst other music typologies of the culture to represent it, both in social and political-oriented activities in Lagos and elsewhere.</li> <li>Igoru music uses the hexatonic scale system. Almost all the songs were found to be composed in compound quadruple metre. The performers involve in two-part polyphonic singing. Consecutive parallel 3rds, 4ths, and 5ths are prevalent and melodic cadences resolve upwards than downwards. Shifts of tonal centre (key), according to the convenience of performers, as well as recycling of themes are also common features. </li></ul>
