Theory: A Basic Intellectual Tool for Study and Continuum of Traditional Musical Arts in Nigeria

Abstract

Quite often the reliability of theory as a tool for study and continuum of traditional musical arts in Nigeria is questioned among the academic musicians and professional – popular, traditional etc. musicians. It is true that theory is distinct from actual practice, because it is usually based on assumption. But beyond that, theory also presents acceptable principles, techniques and rules of procedure that apply to a phenomenon or subject. It is useful as a device to analyse, predict or explain the nature of a specified set of phenomena. It is a basic intellectual tool that aids the teaching, study and understanding of traditional musical arts in Nigeria. It serves as basic intermediary between the field (practical) and abstract (research/classroom) study of traditional musical arts. For the traditional musical arts in the field context to receive scholarly and/or classroom attention, fundamental theories are required, because theories tell us where we were, where we are and where we are heading to. It is also through theory that basic ideology and norms behind a specific music is exposed and without it, there can be no systematic study of music in the intellectual arena. On this backdrop, the prime objective of this paper is to examine the relevance and the extent theory has presented the study of traditional musical arts to the academics. Hence, some major perspectives in which theory drawn from traditional musical arts contributed to academic music is x-rayed in order to ascertain the worth, benefits and place of theoretical method/approach in the contemporary study and continuum practices of traditional musical arts in Nigeria. The result of this is relevant to the academic musicians and researchers of traditional musical arts.