Abstract

The research provides a descriptive analysis of the Aesthetic of urhobo gospel song. It traces the history and development of urhobo gospel song and elucidates the combination of many factors and element of cultural influence and divine inspiration that project urhobo gospel song. The research gives an analytical study of jerry ekpekuro and Godwin oghenebrorhie work toward the contribution of the aesthetic of urhobo gospel songs.

INTRODUCTION

The history of gospel music in urhoboland is broadly divided into two parts. These parts cover the area of Adam igbudu and the post-adamic period. The development of urhobo gospel music can be traced to the protestant church especially the Anglican Church the origin of gospel music in urhobo land is not specifically known. Scholars of urhobo studies are not certain as to how and when it began; urhobo gospel music began in a combination of many factors. It was unconsciously fabricated with some element of cultural influence and divine inspiration.

The coming of the missionaries is a prelude to the development of indigenous music in urhoboland. The first attempt to Christianize the urhobo took place in1470 by the missionaries. This effortfailed because of inadequate finance manpower and the unfavorable climate. Towards the middle of the 19th century, Christianity came to urhoboland from three front sapele, urhuovie and Warri. The church missionary society first appeared in urhobo land in 1854 at okwagbe 1864 in Warri and 1892 in sapele and urhuovie (ajayi 1981;evivwo 1973). The Christianity came into urhoboland swathed in western garment. They came through the agencies of the missionaries, traders and British government. They came with the bible, hymn and liturgical book of different types. For the first decade of Christianity in urhoboland, western hymns set in the metric system where used; ancient and modern for protestant and the Westminster hymn for catholic. These hymns remained in vogue from 1920 to 1930. They remained till such a time when some urhobo Christian felt bored and uncompressed. They wanted to sing and dance in their native language for the gospel to be effectively spread among the people.

CHAPTER 1

1.1       BACKGROUND OF THE STUDY

Development in the urhobo culture in various aspect of economic and social lives also portray radical waves of development in music in urhoboland.

When Christianity came to urhoboland, it was swathed in western garments. They came through the agencies of missionaries, traders and British government. They came with the Bible, hymns and liturgical book of different types. For the first decade of Christianity in urhoboland, western hymns set in the metric system were used; Ancient and modern for protestant and the Westminster hymn for the Catholics. These hymns remained the vogue from1920-1930. They remained till such a time when some urhobo Christians felt bored and uncompressed. They wanted to sing and dance in their native language for the gospel to be effectively spread among their people. This curiosity predominately has led to discovery development of urhobo gospel music. Therefore this research seeks to investigate the aesthetic of urhobo gospel song with a case study on the work of jerry ekpekuro and Godwin oghenebrohie.

1.2       Statement Of Problem

The problem confronting this research is to investigate the Aesthetic of urhobo gospel song with a study of JERRY EKPEKURO and GODWIN OGHENEBRORHIE.

1.3       Research Question

1.  What constitute the Aesthetic of urhobo gospel song?

2.  What is the nature of jerry ekpekuro gospel song?

3.  What is the nature of Godwin oghenebrorhie gospel song?

1.4       Objective Of The Study

1.  To determine the Aesthetic of the urhobo  song gospel song

2.  To determine the nature of the gospel song of jerry ekpekuro.

3.  To determine the nature of the gospel song of Godwin oghenebrorhoe.

4.  To appraisal the history and development of urhobo gospel music.

1.5       Significance Of The Study

1.  To project the nature and Aesthetic of urhobo gospel song.

2.  To provide an understanding of the work of jerry EKPEKURO.

3.  To provide an understanding of the work of GODWIN OGHENEBRORHIE gospel song.

4.   To provide a reference sources of information of the Aesthetic of urhobo gospel song.

1.6       Statement Of Hypothesis

1.  Ho the Aesthetic of urhobo gospel song is not significant to development of gospel song in Nigeria.

H1 the Aesthetic of urhobo gospel song is significant to the development of gospel song in Nigeria.

2.  Ho jerry ekpekuro work is not relevant to the development of urhobo gospel song.

H1 jerry ekpekuro’s work is relevant to the development of urhobo gospel song.

3.   Ho Godwin oghenebrorhie’s work is not relevant to the development of urhobo gospel song.

H1 Godwin oghenebrorhie work is relevant to the development of urhobo gospel song.

1.7       Scope Of The Study

The study is centered on the appraisal of the Aesthetic urhobo gospel song with a study of jerry ekpekuro and Godwin oghenebrorhie of gospel work.

1.8       Definition Of Study

Urhobo gospel song: definition

Urhobo gospel music is a product of certain social factors with the genuine desire to compose gospel song in their mother tongue that would be suitable the environment. Urhobo gospel music is developing as a result of the influence of urhobo traditional music, uelfe and opiri music. Traditional music therefore was the framework on which urhobo gospel music gospel music was built. Simeon.E.(2002).

1.0                                                       CHAPTER ONE

1.1        Introduction

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