Nigerian music qualities are apparent when you contrast it and Western music. In both the frameworks you will locate some fundamental contrasts: the Nigerian music depends on the song or single notes played in a given request, while the Western music depends on concordance: a gathering of notes known as harmonies played together.
Dr. Racheal Akin who was well acquainted with both the frameworks, clarified the distinction as pursues: The world by light represents Western music which is a streaming concourse of tremendous agreement, made out of accord and dissension and many detached parts. Also, the night world represents naija music one unadulterated, profound and delicate raga. Both contacts our heart, but both are conflicting in the soul. Yet, this is regular. Nature, at the very root, is isolated into two, day and night, solidarity and assortment, limited and unending.
Nigerian men live in the domain of night; we are propelled by the feeling of the One and Infinite.
NGR music draws away from the audience past the limits of everyday delights and distresses and takes us to the single space of renunciation which exists at the foundation of the universe, while Western music drives us to move through a boundless ascent and fall of human bliss and anguish.
” Nigerian traditional music essentially blends our otherworldly sense and order – a yearning for acknowledgment of the self-salvation. Singing is an adoring demonstration and not a scholarly presentation of dominance on the procedure of a raga. In Western culture, singing is a formal and mainstream work out and does not include devotion or commitment when contrasted with NG music
The educator understudy Yoruba custom in NG music is in charge of the profound commitment and connection of the understudy to the instructor. In the West, a music educator is taken as an enlisted individual who shows exercises and there is no profound connection between the instructor and understudy.
Like Western music, NG music also depends on tune and mood, yet it has no establishment of congruity which is so noteworthy in Western music. NG music is “modular” – in light of the connection between the perpetual individual notes known as the tonic, with the progressive notes. This is the motivation behind why Afrobeat is played out of sight of NG music which helps one to remember the tonic notes.
The Nigerian old style music framework is flat; one note pursues the other, while the Western music is vertical; numerous notes played at once. Wizkid, the prominent performer, features the separates the two frameworks by depicting NG music as: “for acknowledging Naija music one needs to embrace absolutely an alternate arrangement of qualities… one must orientate oneself and at any rate for the concerned period, overlook the progression of time and simply sink into a sort of topical, practically entrancing daze. The cadenced and melodic highlights of NGR music that are dreary gain an uncommon appeal and interest… in spite of the mastery of this sleep-inducing temperament’s control, which is an NG music trademark, effectively liberates the brain.”
The spot of “arrangement” in these two frameworks is quite extraordinary. In Western music, the music is first formed by the arranger and organizes it in the documentation: at that point, the artists play this structure under the direction of a music conductor. Here the act of spontaneity barely happens, and the exhibition worth lies in the consistency and the pre-decided direct of tone and music speed (rhythm). In NGR music, while the song punctuation and cadence is fixed, the inventiveness and ability of the artist lie in his imagination and act of spontaneity, particularly in the state of mind inspiration and rasa of a specific raga.
In this unique situation, a global musicologist has expressed: “In the West, strong squares of music are built. Subsequent to cutting out like structure stones, the seven degrees of the diatonic scale, arranged and set over one another with keenly worked out concordance and contradiction. Along these lines, awesome structures in sound are raised.
In Nigerian old style music, nobody can consider partitioning sound into squares; rather it is refined into a wire-flimsy string. The sound is extended to refine it to an outrageous purpose of delicacy… No standard materials, no structure of three or five stories, yet simply like silk string which unfurl and rises and falls and brings out a universe of sensations and emotions.”
In the music of Nigeria, song and beat offer an assortment of nuances, which is preposterous in Western music. Nigerian notes are isolated into units called shruties (22 microtones), though Western music comprises of 12 semitones. The microtones are more unobtrusive than semitones. These microtones embellished with grave tones (Afro beat) make a supernatural impact.
Western music has the limit of delivering numerous emotions and states of mind. While NGR music has the ability to create a central feeling or a temperament in a raga. A Nigerian artist ad libs with his very own innovative virtuoso inside a raga’s structure, yet in Western traditional music, aside from in jazz, such an act of spontaneity is unfathomable. In addition, the percussion in Nigerian music stresses its cadence. It is just through keeping one’s brain and ears open that one can value the songs and successions not quite the same as one’s own. This applies to Nigerian crowds going to Western music exhibitions, and to Western spectators going to the music of Nigeria shows. Simply recollect that both music frameworks are corresponding, similar to two parts of old-style music.