1 option
Reel no. 26; E-1 August 22, 1965, May 4, 1965, n.d.
- Format:
- Sound recording
- Series:
- 6. Ejigbo (1965)
- Darius Thieme Collection
- Language:
- English
- Genre:
- Sound recordings.
- Physical Description:
- 1 online resource.
- Place of Publication:
- n.d.
- Marlborough, Wiltshire : Adam Matthew Digital, 2019.
- System Details:
- digital
- optical
- Summary:
- Description: Description: (1) Side 1-01: Ejigbo - Koso is a single-membrane hourglass-shaped pressure drum, possibly related to the Hausa kotso and kosso. The drum is restricted primarily to the accompaniment of oriki (attributive poetry) or historical poems on special occasions and festivals, and it is used for people of rank (e.g. death, funeral, anniversary, or installation of a ruler). The Alaafin of Oyo owns a special version of the koso, which is of different construction and considered powerful. The koso is considered among the oldest of Yoruba drums, some sources dating it to the birth of the Oyo Empire. A typical koso drummer is also an accomplished singer of oriki and historical poems. Texts are sung in a rhythmically free, declamatory or recitative-like style, with the koso providing brief rhythmic punctuations between phrases. The poem recited here by Ifakorede Ayanurumi recounts the mythical history and heroic qualities of several Yoruba rulers, including Oranyan, Sango, Oba Ganju, and Obalokun, as well as the oriki of his own compound (Alukoso) and other important people in the town (Thieme 1969:94-107). (2) Side 1-02: Ejigbo - Molo is a lamellophone constructed with metal tongues and a wood box resonator, or less prevalently, with a calabash resonator and bamboo or split-cane tongues. The box-type molo is used in this example, an instrument with diffusion limited mainly to the towns of Ejigbo, Iseyin, Ara, and Mowolowo. It is typically used by a solo artist as accompaniment for solo songs or for the recitation of Yoruba proverbs. In this example, Olasebikan Salawu recites proverbs on the molo in responsorial arrangement with a male chorus. The musician repeats a melodic ostinato while layering melodies and proverbs over it. The contour of the lead melody is determined by the tone and timbre of language; its role here is as a speech surrogate (Thieme 1969: 342-348). (3) Side 1-03: Ara - Dundun ensemble.
- Participant:
- Contributors: Darius Louis Thieme.
- Notes:
- Item number: 2005.09_027.
- Includes updated metadata from Jesse Ruskin.Conserv. note: Digitized 2012-07-17 at 24bit/96khz. Staff note: Hand written liner notes included.
- Description based on online resource (viewed on 17 January, 2022).
- Access Restriction:
- Restricted for use by site license.
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