DAYO OYEDUN IN THE CONTEXT OF THE FOURTH GENERATION AFRICAN ART MUSIC

Abstract

African art music is a genre by composers who have had the knowledge of western European music. It is often written in Western notation and performed to an enlightened listening audience that is excluded from the performance. Extensive work has been done on the first to third generations of African art music composers while the fourth has not attracted much scholarly attention. This include Dayo Oyedun, whose vocal works attracts a much better audience appreciation for centering on topical themes and adoption of popular/catchy tunes. This study, therefore, documented the life of Dayo Oyedun, examined the factors which influenced his musical training, categorised his compositions and undertook their textual and structural analyses.

The study adopted the ethnographic research design. Data were collected through interviews and observations. In-depth interviews were conducted with Dayo Oyedun, his parents, two sisters and a family friend. Sixteen key informant interviews were also conducted with four church members, four members of his group, two of his associates and six members of the audience at six of his concerts where his works were performed. Two participant and eight non-participant observations were carried out. A total of 100 compositions, purposively selected based on six categories, were transcribed and subjected to structural analysis. Data were content analysed.

Dayo Oyedun did not receive much academic training in music but has to his credit about 600 compositions. He inherited a fraction of his musical genes from his father who is a retired church organist. His music career was largely influenced by three agencies: home, school and church. Oyedun’s compositions are predominantly vocals with piano accompaniments and they are categorised into two groups based on their thematic ideas (secular and sacred). The cantatas, operas, and male voices pieces constitute the secular group, while oratorios, anthems and descants are strictly sacred. Narratives within the secular sphere dealt with socio-cultural subjects, which, tend to promote morals and cultural values, correct ills and criticise infidelity, while those within the sacred sphere, enhance spiritual values through praise, thanksgiving, faith and request. Although the structural forms of his works largely conform to European idioms, balance is achieved through elements derived from Yoruba culture especially polyrhythms. The inherent compositional techniques in the works include declamatory speeches, frequent and abrupt modulations, syncopated rhythms and fast chromaticism, particularly in the piano accompaniments. In terms of performance styles, the renditions are characterised by bel canto, fluctuations in dynamics and frequent change in tempo. Oyedun’s compositions bear testimony to his musical ingenuity and distinctiveness.

Dayo Oyedun, a fourth generation African art musician has distinguished himself as a composer and pianist by utilising a coherent blend of African socio-cultural resources, and western compositional techniques. Influenced by an amalgam of parental background, early school exposure and church music, Dayo Oyedun’s compositions, which are uniquely hinged more on practical professional experience, attract a wide audience appreciation.

Key words: Dayo Oyedun, African art music, European music, Fourth generation composers Word count: 470