Music as an Embodiment of Culture and Philosophy: A Survey of Some Nigerian Folk Songs

Abstract

The omnipresence of music in the human society and its utilitarian Stance in human life make the study of its cultural and philosophical essence a necessity. Though the functionality of music can be ascertained from a myriad of perspectives, it is often in the textual content and performance practices of folk songs that the ways of life and the general world-view of a people are exposed. Through the contemplation and appreciation of the art of Nigerian folk songs, one encounters some of the set ideas, views, opinions, beliefs, and norms of the Nigerian/African in relation to the cosmos, nature, and providence. 
Definitions of and about music abound, each favouring the angle(s) that would suit and support the objectives of the scholar. Such angles as aesthetic, emotive, symbolic, psychic, cathartic, cryptic, normative, perfunctory, and metaphysical have all been covered in manifold definitions of and about music; yet, a consideration of music as a mere sonic material reveals music as the deliberate and, at times, chance combination of individual notes that appear successively (melody) or simultaneously (harmony), or even both. The foregoing is true whether the medium of music-making is vocal, instrumental, or vocal-instrumental. 
A consideration of folk music, however, stirs up other emotions and practices that argue for a re-negotiation of music theory as a scientific study of the sonic material. Music-making is a global practice, but what is arguable is that music is solely a human practice. The argument arises from such expressions as 'music of the spheres', 'celestial music','music of the gods', 'music of the spirits', 'mating songs and dances of certain animals', 'songs of birds', 'musical cry of hounds', and 'musical murmur of brooks'. Rhythm and harmony, two basic elements of music, are hailed by philosophers as the vital instruments responsible for balance in the human psyche. All manners of development start and end with the human individual who is physically fit, emotionally stable, and mentally balanced. However, the folk music of the Nigerian/African is a communion shared by the supernatural, the supra terrestrial, the human, and the sub-human (Nzewi, 1980; Onwuegbuna, 2012; Umezinwa, 2009).