Music hath charms to soothe the savage beast,
To soften rocks and bend a knotted oak”
William Congreve (1670-1729)
THE MOURNING BRIDGE
By Bobson Gbinije
Pythagorean Philosophers buttressed by Greek Musicologist, Roman Mythologists and substantiated by the Principles of Creationism and Darwinism tend to agree that Eternity and Immortality are not the attributes of Man. But, they all agree that the ne plus ultra of nature, meditation and the pulchritude of life can touched by the power inherit in music.
Music is the art and science of rhythmic combination of tones, instruments and voices etc precipitating melodious and harmonious effusions that are pleasing to the ear and danceable etc. It carries with it a spiritual, sentimental, emotional and lachrymose FORCE. Music is also a protean and multidimensional WEAPON AND THERAPENTIC ELIXIR.
Music is the ginger of youth and succor. It is the despiser of sorrows and the giver of life. It is the balm of hot minds and tonic of old age. It is the architectonics and zeal of exuberance. It is the food of love and the panacea of despondence. It is the panache and enchiridion of a sacrosanct life. People who know its importance will prefer to see and hear decibels and chords eulogized than instruments wasted.
The historian and poet Roman Rolland (1866-1945) in his book ‘Musicians of the Past’ said “the political life of a nation is only the most superficial aspect of its being. In order to know its inner life, the source of its action, one must penetrate to its soul by music, literature, philosophy and the arts, where are reflected the ideas, the passions, the dreams of a whole people”.
In Genetic Engineering, it is believed that there is a chip implanted by nature in the human DNA-genomic, hormonal and enzyme outlay that stimulates positive and in very few cases negative response and receptivity on hearing the sound of music. Hence, the English playwright William Shakespeare observed in his book ‘The Merchant of Venice’ that “the man that hath no music in himself, nor is not moved with the concord of sweet sounds, is fit for treason, stratagems and spoils. Let no such man be trusted”.
As human nature varies, so also the different musical creativity index and cerebral virtuosity inherent in man. Hence, the aesthetics and nuances in music are rooted in eclectics – a kind of Cosmopolitan, Multicultural, Multidisciplinary and serendipitous fusion, reflecting the world’s Global Village phenomenon. It also reflects multi-civilizational, intra, inter and multi-religious blending and fusion.
As a language and feeling you need not be a Chinese man or woman to appreciate Chinese music. There is a natural intuitivism feeling that makes it appeal to you. You also need not be an American, British or African etc to love and appreciate each other’s music. Music has become a universal language without borders (Apologies to Voice of America). The musicologist Edith Wharton, however posited in her book ‘The Age of Innocence’ that “An unalterable and unquestioned law of the musical world required that the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English speaking audiences”.
Music in Africa has graduated from the confines of traditional folklores, instrumentation, song titles and styles. Through eclectic formats we have become the cynosure of the World with music like highlife, Sakara, Meringue, Cha-cha-cha, Juju, Apala, Fuji, Speldabuc, Afro-Beat, etc. African music, musicians and musicologist have done very well in blending highlife, afro-beat and other formats in producing very trending patterns.
The great works of Bobby Benson, Cardinal Rex Jim Lawson, Uhuru Dance Band, Fire Flies, Victor Olaiya, Fela Anikulapo-Kuti, I.k. Dairo, Chris Ajilo Jerry Azinge, Manu Dibango, Hughes Makesela, Mariam Makeba, Professor Sir. Victor Uwaifo, Sunny Okosun, Miller, Zeal Onya, Dan Maraya Jos, Celestine Okwu, Ebenezar Obey, Sunny Ade, Orlando Owoh, Osibisa, Shina Peters, Oliver Gbagi, Pa Sally Young, St Augustine, Warriors, Dele Abiodun, Oliver de Couque, King Kenny Tone and Omabuwa.
Others are: Ofor and the Black Company, BLO, Strangers, Tony Grey, Pat Finn, Hykers International, Doves, Funkees, Wrinkers Experience, Jimmy Joe and Wuwas, Ofege, Bongos Ikwue, Robert Bozimo, Ben Alaka, Benders, Geraldo Pino, Afro Collections, Johnny Heastrup, Segun Bucknor, Spud Nathans, The Wings of Aba, Ikomi Dance Band Sapele, Gbemi Saka, Arakatula, Phillip Jones, Great Lidonians and One World etc, are all blended with Rock, Jazz, Pop, Soul, Raggae, Funk and Gospel Music etc. to produce the conventional genre of reigning Hip Pop music.
Some Hip Pop Stars are: Tu Face Dibia, Davido, Don Jazzy, D’ Banj, Korede Bello, Baba Fryo, Wizkid, Tiwa Savage, Timaya, Daddy Shokey, Omawumi, Oritsefemi, Faze, Ice Prince, Kefee, Frank Edwards, Samsong, Sammy Okposo, Sinach, M.I, Phyno, Psquare, Lil Kesh, Yung 6ix, Patoranking, Wande Coal, Dr Sid, Reekado Banks, Sunny Neji, Flavour, Diamond, Micasa, Sarkordie, Harry Song, 9ice, J Martins, Emma Grey, Kc, Braket, Iyanya, Shun Bebe, Banky W, Erigha, Olu Maintain etc. There is the musical configuration and methodical idiomization of the lebensraum and Zeitgeist of modern candour in their music.
The protean formats of Dizzy Gillespie, Otis Redding, James Brown, Wilson Picket, Sam Cooke, The Beatles, Elvis Presley, Rolling Stones, Bum Benton, Michael Jackson, The Monkeys, Dynasty, Hot Chocolates, Isaac Hayes, Barry White, Teddy Pendergrass, Fowl Kligh, Grover Washington, George Benson, Dias Muhammad, Stanley Turrentune, the Crusaders, Bob Marley, Jim Reeves, Don Williams, Kenny Rogers, Dolly Paton, Jimmy Cliff and others too numerous to mention. Indeed, music is consistent with the observation of John Armstrong (1709-1779) in his book ‘Preserving Health’ that “Music Exalts Each Joy, allays each grief, expels diseases, softens every pain, and subdues the rage of poison and the plague”
The creative admixture of Edo Folksongs into the pot-pourri of highlife and calypso gave Professor Sir Victor Uwaifo his unique motifs and medium of Akwete, Titibiti and Sasakosa expressivity index, which has kept the world happy. The vibrancy of Fela’s Afro beat as a weapon of Liberation and Force of political and social communication has come to show that Music is not only a Tenny Bumpy Sentimental hogwash. It is also through its instrumentality a tool for effecting social, religious and Political change etc.
The trend in Contemporary Hip-Hop is Dwarfish in its lyricality and depth of instrumentational harmony, but highly danceable. It appeals to the guts and not to effusions of spirituality and emotions. In all, music in contemporary Africa has taken on a global trendiness’ and quick silver kaleidoscopic frequency of change. This is good for the Music industry and its growth. But our men and women in music should learn to play at least one instrument. This will greatly enhance their rhythmic dexterity and verve redounding to musical pulchritude and enrichment. The Government, musicians of all genres, recording studios, promoters and various institutions involved with music must establish a functionally viable partnership for the development of music in Nigeria and Africa. Musical Bodies should stop the politics of attrition and strategically reposition themselves to develop the musical industry thereby enhancing their own welfare. The re-integration and rehabilitation of MAJEK FASHEK is a task that must be done. This is the only way we can agree with Thomas Carlyle (1795-1881) that “music is the speech of the Angels”
