STRUCTURE AND FUNCTION OF ÌRÈGÚN MUSIC IN YÀGBÀLAND, KOGI STATE

ABSTRACT

In African societies generally, social commentaries as well as issues regarding etiquettes and societal values are clearly articulated in satirical musical performances. This is one notable way to ensure some measure of social control and foster cohesion among the people. Previous studies on Yàgbà people are scanty. The few available ones have not undertaken ethnomusicological analyses of Ìrègún music, even when the continuity of the genre is greatly threatened. This study, therefore, focused on Ìrègún, a trado-satirical musical genre of the Yàgbà in Kogi State, Nigeria. Both the traditional and contemporary performance structure and function of Ìrègún music were documented. The theories of socio-cultural and structural-functionalism were adopted for the study. Primary data were collected through 6 In-depth and 6 Key Informant interviews of leaders and members of Ìrègún musical groups from Yàgbà-West, Yàgbà-East and Mopamuro Local Government Areas of Kogi State. Focus Group Discussion were also conducted with chiefs and elders in each of the LGAs in addition to three Participant Observation and 6 Non-Participant Observation methods. Music recordings, photographs of Ìrègún performances, and 53 songs and chants were purposefully sampled. Secondary data were collected through library, archival and Internet sources. Data analyses were carried out through transcription of the songs and chants with Sibelius and Finale music software, textual and content analysis. The structural analysis of Ìrègún music revealed that Ìrègún songs are in call and response, antiphonal, through-composed, strophic and strophic responsorial forms. The predominant song scales employed were tritonic, tetratonic, pentatonic, hexatonic, heptatonic and while the rhythmic types were essentially trochaic, iambic, dactylic, anapestic, spondaic and tribrachic. The melodic form were classified into ternary, quartenary, quintenary and sextenary, while the harmonic forms in Ìrègún music were monophony, polyphony, polarity, and heterophony. The chants were characterised by musical intonation, narrow melodic range, tonal sequences and tonal contrasts. Although closely interwoven, Ìrègún performance practice was structured into preparation, actual and post-performance, while chanting, singing, playing of instruments and dancing formed the performance dimensions. Instruments used in accompanying Ìrègún music include ìyá-ìlù, omele ako, omele abo and gúdúgúdú which were all drums, as well as sèkèrè (rattle) and igan (flute). Observable changes in Ìrègún musical groups were: the admission of willing youths as members and the preference of praise songs above insult songs. Among the Yàgbàs, performing contexts shape Ìrègún musical functions, which include education, caution, counselling, criticism, chronological reference, entertainment, drive and praise of individuals and group of persons in Yàgbà communities. The ìrègún music, with a predominant trochaic and monophonic structure, performs largely satirical and praise functions. Thus, despite its threat of extinction, it serves as a veritable mirror and cultural preserver in Yàgbà communities. Given these social roles, ìrègún should be promoted by the government of Kogi State and Non-Governmental Organizations through regular sponsor of their performances in order to sustain and globally popularise the tradition. Future studies on ìrègún music should concentrate on technological innovations in the construction of its instruments.