Abstract
This paper sought to outline flaws inherent in indigenous liturgical music compositions in the Catholic Diocese of Ikot Ekpene. Recently, there has been a proliferation of indigenous liturgical Catholic songs for the various parts of the Mass by “untrained composers” in the Diocese. Due to the level of music training, the composers of most of these songs are always composed with no reference to both Western and African music theories. For this study, three indigenous compositions were collected, transcribed into staff notation and analysed. It was observed that all these compositions were in solfa-notation, a less accurate mode of notating music. The works under study had flaws ranging from notational, melodic, harmonic, metrical, modal and textual errors. However, if the choirmasters and organists who incidentally double as composers of most indigenous songs used in the Diocese are given basic training in music theory, the standard of their works would improve.
Highlights
The Mass or celebration of the Eucharist, which is the principal liturgy of the Catholic Church, embodies Gloria, Sanctus, Agnus Die, Peter Noster and Kyrie set to music
Despite the shortcomings noticed in these compositions, their composers may be adjudged to be creative and their works have been used in worship in most parishes in the Diocese and even at the Diocese liturgical functions
The songs are widely accepted by both the choirs and congregations without considering their liturgical implications and appropriateness. If these composers are given basic training in music theory, form, and analysis, their musical horizon would be broadened and their composition would be professionally sound and most errors found in their pieces would be eliminated
Summary
The Mass or celebration of the Eucharist, which is the principal liturgy of the Catholic Church, embodies Gloria, Sanctus, Agnus Die, Peter Noster and Kyrie set to music. Since Vatican’s introduction/institutionalization of inculturation (the practice that allows certain aspects of the culture of the people in worship), there has been a proliferation of indigenous liturgical catholic songs used for the various parts of the mass. These are products of untrained composers whose songs were composed without recurs to both Western and African compositional principles. Without a study of or reference to music theory in both African and Western parlances, we can confirm that these indigenous composers had some missing gaps With these gaps, one wonders if the indigenous Catholic songs in the diocese are apt enough, consideration the musical background of their composers. The study was aimed at elucidating the degree of conventionality or non-conventionality of these pieces to existing music theoretical rules
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