Meet the man
Rev. ‘Femi Adedeji is a man of two worlds (Spiritual and Academics). He was chosen as an apostle of ‘The Truth of the Gospel’ after the order of Paul and Joseph Ayo Babalola of Christ Apostolic Church; not by man but by the will of God. Born under great mysteries in Erio-Ekiti, Nigeria, he is the eldest son of Prophet Fesojaye Adedeji of Christ Apostolic Church, a man mightily used by God but less appreciated because of his truth. Rev. ‘Femi Adedeji by gift, is a prophet, teacher, pastor, and author. He is the Servant in charge of The Truth of the Gospel Global Ministries and the End-Time Revival Networks.
Academically, Rev ‘Femi Adedeji holds Master’s degrees in Music and Theology from the then University of Ife and Ibadan respectively; and a Ph.D. in African Musicology from the University of Ibadan. He specializes in Bibliological Musicology and Christian Music. He is widely traveled as a scholar and missionary. He has published several academic papers in reputable local and international Journals. He is currently an Associate Professor in the Department of Music, Obafemi Awolowo University, Ile Ife, Nigeria and the National Secretary of the Association of Nigerian Musicologists. Rev. ‘Femi Adedeji is also by the grace of God a composer, director, producer and a gospel musician of international repute with several albums. But he has nothing to boast of except that he is a debtor of God’s amazing grace.
This vessel in the hand of God strongly believes and does the work of the ministry as Paul: ‘in much patience, in afflictions, in necessities, in distresses, in stripes, in imprisonments, in tumults, in labors, in watchings, in fastings; by pureness, by knowledge, by long-suffering, by kindness, by the Holy Spirit, by love unfeigned; by the word of truth, by the power of God; by the armour of righteousness on the right hand and on the left; by honour and dishonour; by evil report and good report; as deceivers, and yet true; as unknown, and yet well known; as dying, and behold, we live; as chastened, and not killed; as sorrowful, yet always rejoicing; as poor, yet making many rich; as having nothing, yet possessing all things’.
‘Femi Adedeji is married to Eunice with five blood children and several other children in the Lord.
The Truth of the Gospel Global Ministries which he oversees is a multidimensional ministry aimed at preaching the truth of the gospel throughout the whole world and through all available means such as prophetic, teaching, music, help, T.V, Internet and Intercessory Ministrations.
Curriculum Vitae: Professor Samuel Olufemi Adedeji
Head, Department of Music, Obafemi Awolowo University, Ile-Ife, Nigeria
Tel: +234 803 454 9393. E-mail:firstname.lastname@example.org; email@example.com
1. Full Name: ADEDEJI, Samuel Olufemi
2. Place of Origin: Erio-Ekiti, Ekiti State
3. Local Government Area: Ekiti West
4. Senatorial District: Ekiti Central
5. Permanent Home Address: 58/60, Afolabi Alada nla street, Ile Ife
6. Marital Status: Married
7. Number of Children and their Ages: Five: (aged 29; 26; 22; 20; 15).
8. Next of Kin: Mrs. Eunice A. Adedeji
9. Address of Next of Kin: O.A.U. Staff School, Obafemi Awolowo University, Ile-Ife, Osun State, Nigeria.
10. Date of Assumption of Duty: March 3rd, 1995
11. Rank/Status on First Appointment: Assistant Lecturer
12. Present Status: Professor
13. Date of Last Promotion: October 1st, 2009
B. EDUCATIONAL BACKGROUND
1. Higher Educational Institutions Attended with Dates
(a) University of Ife – 1983-1987
(b) University of Ibadan – 1989-1992
(c) Obafemi Awolowo University, Ile-Ife – 1992-1998
(d) University of Ibadan – 1998-2004
2. Academic/Professional Qualifications and Distinctions Obtained with Dates
(a) B.A. (Hons.) Music (Ife) – 1987
(b) M.A. African Music (Ibadan) – 1992
(c) M.A. Religious Studies (Ife) – 1998
(d) PhD African Music (Ibadan) – 2004
(e) Fellow of the Assoc. of Nig. Musicologists (FANIM) 2017
3. Other Distinctions and Awards with Dates
(a) Obafemi Awolowo University Post-Graduate Fellowship Award. 1993-1995
(b) Certificate in Advanced Leadership Skills, Hawaii, U.S.A. 1997
C WORK EXPERIENCE WITH DATES
1. Previous Work Experience Outside the University System with Dates
(i) Lectureship – C.A.C. Theological Seminary, Ile-Ife, Nigeria (Lecturer) 1987-1993
(ii) Lectureship – Universal Gospel Divinity College, Ile-Ife, Nigeria (Part-Time Lecturer) 1994-1996
2. Work Experience in Obafemi Awolowo University
(a) Assistant Lecturer – Music Dept. O.A.U., Ile-Ife 1995-1997
(b) Lecturer II – “ “ “ “ 1997-2000
(c) Lecturer I – “ “ “ “ 2000-2003
(d) Senior Lecturer – “ “ “ 2003-2006
(e) Reader – “ “ “ “ 2006-2009
(f) Professor – “ “ “ “ 2009 to date.
3. Some Courses Taught Recently
MUS 241 – African Music Theory III
MUS 242 – African Music Theory IV
MUS 261 – MUS. 463 – Primary & Secondary Inst. (Voice, Guitar & Double Bass)
MUS 262 – MUS. 464 – Primary & Secondary Inst. (Voice, Guitar & Double Bass)
MUS 327 – Analysis of Western Musical Forms
MUS 342 – Analysis of African Musical Forms
MUS 402 – Music and the Technical Media
MUS 421 – 20th Century Compositional Techniques
MUS 428 – Analysis and Analytical Techniques of 20th Century Music
MUS 429 & 430 – Composition I and II
MUS 435 – Church Music Repertoire
MUS 443 & MUS 444 Project in African Music I & II
MUS 609 & MUS 610 – Seminar in Music I & II
MUS 631 & MUS 632 – Advanced Seminar in Music I & II
4. Graduate Student Supervision
a. (Selected) in OAU:
(Some of the M.A. Dissertations): Nine Candidates
ABOLUWARIN, R. P.
ALEMEDE E. O.
OMOSILADE, T. A.
EFURHIEVWE, A. M.
UDOH, U. A.
FAMAKINDE, T. T.
OJO, Lola (Department of Computer Engineering)
(Ph.D.): Four Candidates
b. Outside OAU:
(Doctor of Musical Arts [DMA] in Church Music): Three Candidates
ODIASE Yeside (Voice)
OGUNLEYE Adeolu (Composition)
AMAO Timothy (Composition)
(MCM in Church Music): Three Candidates
OJO Rachael (Voice)
AKANDE Damaris (Voice)
ODERINU Elizabeth (Voice)
6.Current Undergraduate Supervision: Four (5)
D.MEMBERSHIP OF PROFESSIONAL BODIES
1. Association of Nigerian Musicologists
2. Conference of Music Educators of Nigeria
3. Centre for Black Music Research, Chicago
4. International Society of Music Education
5. Pan African Society of Musical Arts’ Education
6. Gospel Musicians’ Association of Nigeria
7. Copyright Society of Nigeria
- ADEDEJI, S.O. 1991. ‘Ifa Music in Ijo Orunmila’ (unpublished M.A. Thesis), University of Ibadan, 226pp.
- ADEDEJI, S.O. 1998. ‘A Contextual Exegesis of New Testament and Traditional Yoruba Hymns’ (unpublished M. A. Thesis), Obafemi Awolowo University, Ile-Ife, 238 pp.
- ADEDEJI, S.O. 2004. ‘Nigerian Gospel Music: A Study of its Styles’ (unpublished PhD Thesis), Institute of African Studies, University of Ibadan, Nigeria, 904pp
(2a) Authored – Nil
- ADEDEJI, S.O. 2012a. Selected Topics on Nigerian Music by Augustus O. Vidal. Ile-Ife: OAU Press.
- ADEDEJI, S.O. 2012b. Essays on Yoruba Musicology by Augustus O. Vidal. Ile-Ife: OAU Press.
- ADEDEJI, S.O. 2017a. Nigerian Indigenous Musical Terminologies (A Multilingual Lexicon). Ile Ife: Association of Nigerian Musicologists.
- ADEDEJI, ‘Femi, ONYEJI, Christian & ONUORA-OGUNO, Nnamdi 2017b. Musical Horizons in Africa (Essays and Perspectives): A Festschrift in honour of Daniel Chikpezie Christian Agu. Ile Ife: Association of Nigerian Musicologists.
- ADEDEJI, ‘Femi & NWAMARA Alvan-Ikoku 2017c. Songs of Life: Selected Vocal Works of Daniel Chikpezie Christian Agu. Ile Ife: Association of Nigerian Musicologists.
3.Contributions to Books
vi. ADEDEJI, S.O. 2004a. ‘African Music Notation and the Computer Technology’. In Locating the Local in the Global: Voices on a Globalised Nigeria, in Sola Akinrinade, Modupe Kolawole, Ibiyemi Mojola & David Ogungbile (eds). [159 – 166]. Ile-Ife: Faculty of Arts, Obafemi Awolowo University.
vii.ADEDEJI, S.O. 2006a. ‘Aesthetics and Practices in Indigenous Choral Styles of the Yoruba of Africa’. In Minette Mans (ed). Centering on African Practice in Musical Arts Education. [3 – 16]. Pretoria: African Minds.
viii.ADEDEJI, S.O. 2007a. ‘The Praise “n” Worship Musical Style of the Contemporary Nigerian Avant Garde (Charismatic) Christian Church’. In Akin Odebunmi & Adeyemi Babajide (eds). Styles in Religious Communication in Nigeria. [202 – 217]. Muenchen: LINCOM GmbH, pp. 202 – 217.
ix.ADEDEJI, S.O. 2008a. ‘Musical Revolution in Contemporary Nigerian Christianity: a Charismatic Development or Sacredized Profanity?’ In Tunde Babawale & Olukoya Ogen (eds). Culture and Society in Nigeria. (Vol. 2). [366 – 393]. Lagos: Concept Publications Ltd./CBAAC.
x.ADEDEJI, S.O. 2009a. ‘Retrieving Indigenous African Music Legacies for Cross-Cultural Educational Purposes: Sources, Methods and Packaging’. In Tunde Babawale, Akin Alao, Felix Omidire & Tony Onwumah (eds). Teaching and Propagating African and Diaspora History and Culture. [695 – 712]. Lagos: Concept Publications Ltd./CBAAC.
xi.ADEDEJI, S.O. 2017d. ‘Yoruba Popular Culture’. In Culture and Customs of the Yoruba. (ed.) Toyin Falola and Akintunde Akinyemi. [913-928]. Austin, Texas. Pan African University Press.
xii.ADEDEJI, S.O. 2017e. The Vociferation of the Oppressed: Empathic Underpinnings of Contemporary Indigenous Christian Prayer Songs in Nigeria. In ‘Femi Adedeji, Christian Onyeji & Nnamdi Onuora-Oguno (eds). Musical Horizons in Africa (Essays and Perspectives): A Festschrift in honour of Daniel Chikpezie Christian Agu. [107-127]. Ile Ife: Association of Nigerian Musicologists.
xiii.ADEDEJI, ‘Femi & OMOSILADE, Tayo 2017f. The Transformative Essence as an Underpinning factor in Dan Agu’s Music Career. In ‘Femi Adedeji, Christian Onyeji & Nnamdi Onuora-Oguno (eds). Musical Horizons in Africa (Essays and Perspectives): A Festschrift in honour of Daniel Chikpezie Christian Agu. [341-349]. Ile Ife: Association of Nigerian Musicologists.
xiv. ADEDEJI, S.O. 2011a. ‘School Music Education in Africa: The Meki Nzewi Method’. In Y.S. Onyiuke, I.O. Idamoyibo and D.C.C. Agu (eds.) Mekism and Knowledge Sharing of the Musical Arts of Africa: A Book of General Reading in Honour of Professor Meki Nzewi.[46 – 53]. Awka: Department of Music, Nnamdi Azikiwe University.
xv.ADEDEJI, S.O. 2012c. ‘Tunji Vidal as a Composer’, in ‘Femi Shaka and M.A. Omibiyi-Obidike (eds.) Music and Theatre Arts in Africa: A Festschrift in Honour of Professor Augustus Olatunji Vidal. [29 – 49]. Lagos: Centre for Information, Press and Public Relations,Lagos State University.
xvi.ADEDEJI, S.O. 2013a. ‘Theories in Christian Sacred Musicology: An African perspective’. In Charles Aluede, Kayode Samuel and ‘Femi Adedeji (eds.) African Musicology: Past Present and Future, a Festschrift for Mosunmola Ayinke Omibiyi-Obidike. [103 – 120]. Ile Ife: Association of Nigerian Musicologists.
xvii.ADEDEJI, S.O. 2013b. ‘African Musicology: Developments and Challenges in the Contemporary Times’. In Charles Aluede, Kayode Samuel and ‘Femi Adedeji (eds.) African Musicology: Past Present and Future, a Festschrift for Mosunmola Ayinke Omibiyi-Obidike. [85-102]. Ile Ife: Association of Nigerian Musicologists.
xviii.ADEDEJI, S.O. 2015a. ‘What is Voice Studies’. Voice Studies: Critical Approaches to Process, Performance and Experience. [203-216]. Abington: Routledge.
xix.ADEDEJI, S.O. 2017g. ‘D.O. Babajide: the Father of Christ Apostolic Church Music’. In The Life and Ministry of Evangelist David Olulana Babajide. [71-86]. Ilesa: CAC Babajide School of Prophets and Evangelists.
4.Published Journal Articles
xx.ADEDEJI, S.O. 1997. ‘The Role of Music in Ifa Divination’. Journal of Nigerian Languages and Literatures. Germany. No.5. 36 – 42.
xxi.ADEDEJI, S.O. 1998. ‘Change in Societal Values: “Virginity” and its Music among African Societies as a Case Study’. Journal of Nigerian Languages and Literatures. Burbank, U.S.A. No. 6. 7 – 11.
xxii.ADEDEJI, S.O. 2000a. ‘Elements of Africanism in Nigerian Indigenous Church Music: Christ Apostolic Church as a Case Study’. Journal of the Nigerian Anthropological and Sociological Association. Ile-Ife. 1(1). 74 – 84.
xxiii.ADEDEJI, S.O. 2000b. ‘The Musical Legacies in Yoruba Ifa Literary Corpus’. Journal of Arts and Ideas. Ile-Ife. No. 2. 1 – 19.
xxiv.ADEDEJI, S.O. 2000c. ‘Towards a New Approach to the Study of Religious Music in the Contemporary Africa’. Journal of Nigerian Music Education. Abeokuta. No. 1. 40 – 49.
xxv.ADEDEJI, S.O. 2001a. ‘Definitive and Conceptual Issues in Nigerian Gospel Music’. Nigerian Music Review. Ile-Ife. Vol. 2. 46 – 55.
xxvi.ADEDEJI, S.O.2001b. ‘Revolutionary Trends in Nigerian Contemporary Gospel Music’. Humanities Review Journal. Ile-Ife. 1(2). 46 – 53.
xxvii.ADEDEJI, S.O. 2002a. ‘Effect of Acculturation on Traditional African Music: Ifa Music of the Yoruba as a Case Study’. Asia Journal of Theology. India. 16(1). 29 – 35.
xxviii. ADEDEJI, S.O. 2002b. ‘Composing Music for Nigerian Contemporary Christian Liturgies’. Nigerian Music Review. Ile-Ife. No. 3. 89 – 93.
xxix.ADEDEJI, S.O. 2002c. ‘The Pedagogy of Guitar’. HURIA: Journal of the Open University of Tanzania. 4 (1). 88 – 91.
xxx.ADEDEJI, S.O. 2002d. ‘Theological Themes in the New Testament and Traditional Yoruba Hymnic Texts: The Socio-Political Import for the Contemporary Africa and the World’. Journal of Nigerian Music Education. Ilorin. No. 3. 23 – 44.
xxxi.ADEDEJI, S.O. 2003a. ‘Contextual Exegesis, an Interpretative Method for Bible Hymnic Texts: A Nigerian Perspective’. Asia Journal of Theology. India. 17(1). 17 – 25.
xxxii. ADEDEJI, S.O. 2003b. ‘Niyi Adedokun’s Use of Satire in Nigerian Gospel Music: A Case study of Church Wa n Memu’. Nigerian Music Review. Ile-Ife. No. 4. 93 – 112.
xxxiii. ADEDEJI, S.O. 2003c. ‘Analysis of Selected New Testament Hymns’. Asia Journal of Theology. India. 17(2). 301 – 314.
xxxiv. ADEDEJI, S.O. 2004b. ‘Computerizing and Networking Music Education in Nigerian Tertiary Institutions’. Awka Journal of Research in Music and the Arts. Vol. 2. 1 – 9.
xxxv. ADEDEJI, S.O. 2005a. ‘Pitch and Tonality in Contemporary African Music: Nigerian Gospel Music as a Case Study’. Research Review. Ghana. 21(2). 1 – 10.
xxxvi. ADEDEJI, S.O. 2005b. ‘Hymns – Sacred and Secular: Use of Poetry in Religious Literature and in the Religious Education System of Judaeo-Christians and the Traditional Yoruba of Africa’. Religion and Society. India. 50(2). 62 – 78.
xxxvii. ADEDEJI, S.O. 2007b. ‘Instrumentation as a Stylistic Determinant in Nigerian Gospel Music’. Research Review. Ghana. 23(2). 43 – 59.
xxxviii. ADEDEJI, S.O. 2007c. ‘Christian Music in Contemporary Africa: A Re-examination of its Essentials’. KOERS. South Africa. 72(1). 85 – 100.
xxxix. ADEDEJI, S.O. 2007d. ‘Form in Nigerian Gospel Music’. Awka Journal of Research in Music and the Arts. Vol. 4. 61 – 71.
xl. ADEDEJI, S.O. 2008b. ‘New Trends in Global Music Research: The Implication for Nigerian Art Music’. African Musicology Online. Kenya. 2(1). http://www.africanmusicology.org 8 – 17.
xli.ADEDEJI, S.O. & AJEWOLE, J.O. 2008c. ‘Voice Pedagogy in Nigerian University Music Education’. Journal of the Association of Nigerian Musicologists. (Special Edition). 99 – 117.
xlii.ADEDEJI, S.O. 2008d. ‘The Theology and Practice of Music Therapy in Nigerian Indigenous Churches: Christ Apostolic Church as a Case Study’. Asia Journal of Theology. India. 22(1). 142 – 154.
xliii. ADEDEJI, S.O. & OLATUNJI, M.O. 2008e. ‘Reassessing the Significance of the Performing Arts in Africa: the Nigerian Experience’. LASU Journal of Humanities. Vol. 5. 20 – 34.
xliv. ADEDEJI, S.O. 2008f. ‘Compositional Techniques in African Art Music: The Meta-Musical Dimension’. African Musicology Online. Kenya. 2(2). http://www.africanmusicology.org 60 – 80.
xlv. ADEDEJI, S.O. 2009b. ‘Classification of Nigerian Gospel Music Styles’. AFRICA: Revista do Centro de Estudos Africanos. Sao Paulo, Brazil. 24/25/26 (March). 225 – 246.
xlvi. ADEDEJI, S.O. 2009c. ‘Vocal Aesthetics in Contemporary African Music: A Case Study of Nigerian Gospel Music’. Awka Journal of Research in Music and the Arts. Vol. 6 (June). 1 – 12.
xlvii. ADEDEJI, S.O. 2009d. ‘Nigerian Gospel Music in a Globalized Context’. JANIM: Journal of the Association of Nigerian Musicologists. No. 3. 60 – 71.
xlviii. ADEDEJI, S.O .2010a. ’Compositional Techniques and Styles in Nigerian Gospel Music’. Journal of Performing Arts, Ghana. 4(1). 2 – 13.
xlix. ADEDEJI, S.O. & OLANISEBE, S.O. 2010b. ‘The Relevance of the Nigerian Gospel Music Today: A Theo-Musicological Analysis’. Asia Journal of Theology. 24(2). 254 – 284.
l. ADEDEJI, S.O. 2010c.’Transformative Musicology: Recontextualizing Art Music Composition for Societal Transformation in Nigeria’. Revista Electronica de Musicologia. Vol. XIV. http://www.rem.ufpr.br/_REM/REMv14/09/transformative_musicology.html
li. ADEDEJI, S.O. & Vidal, A.O. 2010d. ‘Language in Nigerian Music Scholarship: The Dearth of Intellectualism’. JANIM: Journal of the Association of Nigerian Musicologists. No. 4. 19 – 34.
lii. ADEDEJI, S.O. 2010e. ‘History of Nigerian Gospel Music Styles’. African Notes: Journal of the Institute of African Studies. 29 (1 & 2). 145 – 152.
liii. ADEDEJI, S.O. 2010f. ‘Language Dynamics in Contemporary African Religious Music: Nigerian Gospel Music as a Case Study’. JANIM: Journal of the Association of Nigerian Musicologists. No. 4. 95 – 116.
liv. ADEDEJI, S.O. & OLANISEBE, S.O. 2010g. ‘Musical Terminology in the Psalms’. African Journal of Biblical Studies. XXVIII(2). 58 – 77. Also published earlier in 2007 in Bulletin for Old Testament Studies in Africa [BOTSA Electronic Forum], Norway. No. 21. http://www.mhs.no/article_631.shtml
lv. ADEDEJI, S.O. & OLANIYAN, C.O. 2010h. ‘The Traditional Hymnic Texts of the Yoruba of Africa as an Agent of Socio – Political Mobilization’. Journal of Pan African Society for Musical Arts Education. Pretoria. Vol. 4. 75 – 97.
lvi. ADEDEJI, S.O. 2011b. ‘Traditional Music and Dance: An Appreciation’. Lagos Notes and Records: Journal of the Faculty of Arts. University of Lagos. Vol. 17. 207 – 218. Also published in 2012 in Babalola, E.T. and Azeez, Tunji (eds.) Critical Perspectives on Language, Literature and Communication Studies: Festschrift in Honour of Siyan Oyeweso. [173 – 180]. Ile Ife: Obafemi Awolowo University Press.
lvii.ADEDEJI, S.O. 2011c. ‘Redefining Nigerian Gospel Music within the Contexts of Musical Aesthetics, Theological Relativism and Socio-Cultural Dynamism’. OJOT: Ogbomoso Journal of Theology. XVI (2). 181 – 192.
lviii.ADEDEJI, S.O. 2011d. ‘Singing as an Outcry of Socio-Economic Emancipation and Transformation in Africa: A Textual Analysis of Selected Nigerian Gospel Songs’’ Obodom: Journal of Music and Aesthetics. 1 (2). 47 – 57. Also published in 2012 as ‘Singing and Suffering in Africa: A Study of Selected Relevant Texts of Nigerian Gospel Music’. Matatu – Journal for African Culture and Society, Focus on Nigeria Literature and Culture. Edited by Gordon Collier. Vol. VII. 411-425.
lix.ADEDEJI, S.O. 2011e. ‘National Development through Music Technology: The Transformation of the Musicians’ Minds as an Imperative’. JANIM: Journal of the Association of Nigerian Musicologists, Vol.5. 37 – 54.
lx.ADEDEJI, S.O. & OMOSILADE, Tayo 2012d. ‘”I say No”: The Rebuff of Anti-democratic Forces in Orlando Owoh’s Music’. Nsukka Journal of Musical Arts Research. Vol.1. 67 – 80.
lxi.ADEDEJI, S.O. 2012e. ‘Nigerian Contemporary Church Music Forms: A Preliminary Survey’. JANIM: Journal of the Association of Nigerian Musicologists. Vol.6. 206 – 223.
lxii.ADEDEJI, S.O. 2012f. ‘Yoruba Traditional Musical Elements in Church Worship: Cultural, Musicological and Biblical Considerations’. OJOT: Ogbomoso Journal of Theology. XVII(2). 173-196.
lxiii.ADEDEJI, S.O. 2012g. ‘Performance Styles and Practices in Nigerian Gospel Musicianship’. Journal of the Performing Arts, Ghana. 4(3). 55 – 64.
lxiv.ADEDEJI, S.O. 2012h. ‘Gospel Music and Inter-religious Crisis in Contemporary Nigeria: “E se ‘ra yin jeje of A.B.C Ayeni” as a Case Study’, West African Association of Theological Institutions (WAATI) Papers. No. 7. 167 – 177.
lxvi.ADEDEJI, S.O.2012i. ‘”Ile ya” by Timi Osukoya: an Anti-Nationalistic Gospel?’ Nigerian Music Review. Nos. 11/12. 107-130.
lxvii.ADEDEJI, S.O. 2013c. ‘Music Education and the Universal Basic Education (UBE) Programme in the 21st Century Nigeria: the Necessity for the Transformative Theory’. Journal of Nigerian Music Education (JONIMED). Nos. 4 & 5. 1-15.
lxviii.ADEDEJI, S.O. 2013d. African Music Theory in the Music Education Curricula of Nigerian Universities. Awka Journal of Research in Music and the Arts. Vol. 9. 34-44.
lxixi. ADEDEJI, ‘Femi and Adeolu Ogunleye 2013e. ‘Music as a form of Medicine for the Church: A Theo-Musicological Study and Application of I Samuel 16: 14-23’. OJOT: Ogbomoso Journal of Theology. 18(1). 27-49.
lxx.ADEDEJI, S.O. 2014a. Preparing, Writing and Publishing Quality Academic Papers in Music. Journal of Nigerian Music Education (JONIMED). No. 6. 168-174.
lxxi.ADEDEJI, S.O. 2015b. ‘A Theo-Musicological Analysis of Rev. Fr. T.M. Ilesanmi’s “Ninu Aadorin”. In L.O. Adewole and A. Adesoji (eds.) Faculty of Arts Seminar Series 2014-2015. Obafemi Awolowo University, Ile Ife.
lxxii.ADEDEJI, S.O. 2016a. Repositioning Indigenous African Musical Instruments for fhe Much-Needed Cultural Transformation of Music Education in Nigeria. Journal of Nigerian Music Education. No. 8. 1-20.
lxxiii. ADEDEJI, S.O. 2017h. ‘The Indigenous Music of Christ Apostolic Church in Nigeria and the Diasporas: Issues in Christian Transformative Musicality’. African Musicology Online. 7(1). 40-66.
lxxiv.ADEDEJI, S.O. 2017i. ‘The Amphibology of Musical Arts in Nigerian Contemporary Music Scholarship’. Nigerian Music Review. No.14. 87-98.
5.Edited and Referred Conference Proceeding
lxxv.ADEDEJI, S.O. 2006b, ‘Intercultural Music as an agent of Transformative Musicology’. In Ma Angustias Ortiz, Molina y Almudena, Ocana Fernandez (eds.) Cultura, Cultural. Estadios Sobre Music Y Educacion Intercultural, Granada. [41 – 54]. Spain: Grupo Editorial Universitario.
Articles in Encyclopaedias
lxxvi.ADEDEJI, S.O. 2006c. ‘Metric Organisation and Scale Structure in African Music’. In An Encyclopaedia of the Arts, Lagos State University.http://artslasu.org/publications/index.html
lxxvii. ADEDEJI, S.O. 2006d. ‘Music as Art and Science’. In An Encyclopaedia of the Arts. Lagos State University. http://artslasu.org/publications/index.html
lxxviii.ADEDEJI, S.O. 2006e. ‘Melodic Analysis of African Music’. In An Encyclopaedia of the Arts. Lagos State University. http://artslasu.org/publications/index.html
lxxix.ADEDEJI, S.O. 2006f. ‘Harmonic Analysis of African Music’. In An Encyclopaedia of the Arts. Lagos State University. http://artslasu.org/publications/index.html
lxxx. ADEDEJI, S.O. 2016b. ‘Ethnomusicology’. In Toyin Falola and Akintunde Akinyemi (eds.) Encyclopaedia of the Yoruba. [123-124]. Bloomington: Indiana University Press.
lxxxi. ADEDEJI, S.O. 2016c. ‘Christian Music’. In Toyin Falola and Akintunde Akinyemi (eds.) Encyclopaedia of the Yoruba. [233-234]. Bloomington: Indiana University Press.
lxxxii. ADEDEJI, S.O. 2016d. ‘Musical Instruments’. In Toyin Falola and Akintunde Akinyemi (eds.) Encyclopaedia of the Yoruba. [238-239]. Bloomington: Indiana University Press.
7.Articles Accepted for Publication
lxxxiii. ADEDEJI, S.O. and OMOSILADE, Tayo 2017j. ‘Musical Entertainment and Moral Values in Contemporary Nigeria: A Re-evaluation’. In Journal of the Association of Nigerian Musicologists (JANIM). No. 11.
lxxxiv.ADEDEJI, S.O. and Ajayi, V.O. 2017k. ‘Gender Balance in Music at the tertiary Level: A case Study of Selected Nigerian Universities’. In Journal of the Association of Nigerian Musicologists (JANIM). No. 11.
8.Other Publications [Articles, Study Manuals & Creative Writings]
i.ADEDEJI, S.O. 1991a. Music Education for African Instituted Churches. Part I. Nairobi: Institute of Theological Education by Extension of the Organization of African Instituted Churches.
ii.ADEDEJI, S.O. 1991b. Music Education for African Instituted Churches. Part II. Nairobi: Institute of Theological Education by Extension of the Organization of African Instituted Churches.
ADEDEJI, S.O. 1991c. Music as a Means of Soul Winning. Nairobi: Institute of Theological Education by Extension of the Organization of African Instituted Churches.
ADEDEJI, S.O. 1999. The Role of Music in God’s Works. Ile-Ife: Bolakay Prints.
ADEDEJI, S.O. 2001. ‘How to become a professional Singer’. Nigerian Christian Music Guide. Vol.1. Lagos: Ipfi Music Publishers.
ADEDEJI, S.O. 2002a. ‘The Organization and Administration of Christian Choirs and Bands in Nigeria’. In Nigerian Christian Music Guide. Vol.2. Lagos: Ipfi Music Publishers.
vii.ADEDEJI, S.O. 2003a. ‘Founding and Building a Church Choir’. In Nigerian Christian Music Guide. No. 3. 54 – 63.
viii.ADEDEJI, S.O. 2003b. ‘Issues in Contemporary Church Music in Nigeria (Interview with Pastor Ayo Adeusi, a Musician of Note in Christ Apostolic Church’. In Nigerian Christian Music Guide. No. 3. 68 – 76.
ix.ADEDEJI, S.O. 2005a. Voice Training Manual Bk 1: Tone Production. Ile-Ife: FEMAD Music Publishers.
x.ADEDEJI, S.O. 2005b. ‘Music and the Endtime Revival’. In Nigerian Christian Music Guide. No. 3. 78 – 85.
xi.ADEDEJI, S.O. 2006f, ‘Notating Traditional African Music for Global Use: Issues and Methods’. In Proceedings of 27th World Conference of the International Society for Music Education. Kuala Lumpur: an e-publication on DVD Rom. 1-16.
xii.ADEDEJI, S.O. 2006g, A Critical Appraisal of Music Scholarship in the Contemporary Nigeria: Bridging the Existing Gaps between the Practitioners. In Nigerian Musicology Journal. Vol.2. 246 – 257.
xiii.ADEDEJI, S.O. 2013a. In Honour of Fathers (A Collection of Poems). Ile Ife: The Truth Publishers.
xiv.ADEDEJI, S.O. 2013b. Prophetic Ministry in Christ Apostolic Church: The Odyssey of Prophet Fesojaye Adedeji, an Unsung Hero. Ile Ife: The Truth Publishers.
xv.ADEDEJI, S.O. 2014. Biblical Christian Leadership. Ile Ife: The Truth Publishers.
xvi.ADEDEJI, ‘Femi 2014d. The Theology and Pragmatism of the Role of Music in the Contemporary Church Ministries and the Society: An Explorative Inquiry. Ile Ife: C.A.C. Theological Seminary.
xvii.ADEDEJI, S.O. 2015. The Making of a Gospel Musician (Theological and Pragmatic Perspectives). Ile Ife: Timade Ventures.
xviii.ADEDEJI, S.O. 2016. Endtime Revival through Music: Lessons from Psalms for Contemporary Ministers of God. Ibadan: CAC Theological Seminary Ibadan Campus.
xix.ADEDEJI, S.O. 2017d. D.O. Babajide as a Prophet. In The Life and Ministry of Evangelist David Olulana Babajide. [87-117]. Ilesa: CAC Babajide School of Prophets and Evangelists.
9. Manuscripts Submitted for Publication
i.ADEDEJI, S.O. ‘Rhythm and Beat in Nigerian Contemporary Music: Gospel Music as a Case Study’. Journal of Performing Arts. Ilorin.
ii.ADEDEJI, S.O. ‘Reconstructing the History of Art Music in Nigeria’. African research Review.
iii.ADEDEJI, S.O. ‘”Pushing” Music and Musicological Studies in the right Direction: The Challenge of Clearing Existing Ambiguities’. African research Review.
(a) Music Productions
i.ADEDEJI, S.O. 1992, Ona Abayo Da?, an 8 – track Album waxed on Cassette, featuring personal compositions.
ii. ADEDEJI, S.O. 1994, Dry Bones, an 8 – track Album waxed on Cassette, featuring personal compositions.
iii.ADEDEJI, S.O. 1996, Songs of Prayer 1, a 19 – track Album waxed on Cassette, featuring personally – composed short airs.
iv. ADEDEJI, S.O. 1999, Scatter Them, a 6 – track Album waxed on Cassette, featuring personal compositions.
v. ADEDEJI, S.O. 2003a, Send Down the Fire, a 7- track Album waxed on Cassette & Audio CD, featuring personal compositions.
vi.ADEDEJI, S.O. 2003b, Ekiti State Music, a 9 – track Album waxed on Cassette & Audio CD, featuring personal compositions.
vii ADEDEJI, S.O. 2007a, Everlasting Praise, a 4 – track Album waxed on Audio and VCD, featuring personal compositions.
viii.ADEDEJI, S.O. 2007b, Everlasting Thanksgiving, a 6 – track Album waxed on Audio and VCD, featuring personal compositions.
*ix. ADEDEJI, S.O. 2013. Baba wa ti n be ni Orun, a 12 – track Album waxed on CD, featuring Hymns, personal compositions and folk melodies.
*x.ADEDEJI, S.O. 2014, 50 Songs we loved to sing in CACSA, a 3 – track Album waxed on CD, featuring old lyrics and personal composition.
*xi.ADEDEJI, S.O. 2015a, Special Praise, a 5-track Audio CD Album, featuring personal compositions.
*xii.ADEDEJI, S.O. 2015b, Special Thanks, a 5-track Audio CD Album, featuring personal compositions.
xiii.ADEDEJI, S.O. 2015c. Producer. Revive Us! An 8 – track audio CD Album, featuring two original compositions and rearranges songs.
xiv.ADEDEJI, S.O. 2018. Super Resurrection, a 9 – track Audio CD Album, featuring 6 personal compositions and 3 rearranged songs.
(b) Selected Compositions
i.‘Femi Adedeji 1983. O se Jesu, a Yoruba Choral Anthem.
ii.‘Femi Adedeji 1984. Psalm 15: Oluwa, Tani Yoo maa Se.
iii.‘Femi Adedeji 1987. Education is Good, a School Anthem composed for C.A.C. Theological Seminary, Ile-Ife.
iv.‘Femi Adedeji 1989. ‘K’emi Oba k’o Gun’, an Anthem of prayerful Wishes for His Royal Majesty, Oba Okunade Sijuade, Olubuse II, the Ooni of Ife.
v.‘Femi Adedeji 1989. Long Live the King, an Anthem of prayerful Wishes for His Royal Majesty, Oba Okunade Sijuade, Olubuse II, the Ooni of Ife.
vi.‘Femi Adedeji 1990. Arise: a School Anthem composed for Lagos State Model College, Meiran.
vii.‘Femi Adedeji 1991. So o fun Jesu, a Yoruba Choral Anthem for Choir.
viii‘Femi Adedeji 1992. Ojo Ayo mi, a Yoruba Choral Anthem for Choir.
ix‘Femi Adedeji 1996. The Truth of the Gospel Church, a Church Anthem written for The Truth of the Gospel Church.
x‘Femi Adedeji 1996. Rise and Shine, a Church Anthem written for The Truth of the Gospel Church.
xi‘Femi Adedeji 1992. Ikore Aye De, a Native Anthem for Choir.
xii.‘Femi Adedeji 1992. ‘If You Wanna Get a Peace’, a ‘Spiritual’ written for Choir and Piano.
xiii.‘Femi Adedeji 1993. In mo je a Mura, a Native Anthem for Choir.
xiv.‘Femi Adedeji 1994. ‘Ile Ife Yoo di T’Oluwa’, a Yoruba Revival Anthem for Choir and Piano.
xv.‘Femi Adedeji 1995. ‘Walk, Jog n Run for Guitar on Guitar Strings’.
xx.‘Femi Adedeji 1995. ‘Melody in My Heart’, an ‘African Spiritual’ for Choir and Piano.
xxi. ‘Femi Adedeji 1995. Epo n be for Guitar and Piano.
xxii. ‘Femi Adedeji 1996. ‘Send Down Revival’, a ‘Spiritual’ composed initially for Ife Joint Revival Choir.
xxiii. ‘Femi Adedeji 1996. The True Religion, a Spiritual for Tenor, Choir, Guitar, Piano and Trap Set.
xxiv.‘Femi Adedeji 1996. ‘Send Down Revival’, a ‘Spiritual’ composed for Ife Joint Revival Choir.
‘Femi Adedeji 2002. A School Anthem composed for Obafemi Awolowo University Staff’ School.
xxiv‘Femi Adedeji 2006. ‘Adura Eni to n f’Ayo’, for Solo voice and Piano
xxiv.‘Femi Adedeji 2014. ‘New Life’, a Gospel Medley arranged for Tenor and Piano.
xxv‘Femi Adedeji 2016. Kings University’s Anthem.
1.Rock of Ages 1983
2.Jesus loves you 1983
3.Orin iriju 1988
4.Kini o ku mi ku 1988
5.Ileri Olorun 1990
6.Ohun Asan Aye 1990
7.Here and There 1990
8.How Great are His Signs 1990
9.Wonderful word of Life 1992
10.Wahala po laye yii 1999
11.Olorun Awon Baba Wa 2016
12.My Redeemer and my Saviour 2016
13.God’s Promise forever, is Sure 2016
11.Papers and Works in Progress
i.Rudiments and Theory of African Music
ii.Voice Training and Singing Books
iii.Nigerian-Australian Musicology: Chatting the path for a Mutual Interculturality
ivThe Plasticity of Musical Language: a Socio-Cultural evaluation of ‘Saint’ Janet’s Entertainment Music.
v.Spiritual Warfare in African Congregational Church Music: A Contextual Theo-Musicological Analysis.
vi.Research Methodology in Music for Africa
viiIndigenous Piano Tutors for Pupils
viii.‘Traditional Music of the Yoruba’
xii.Ara Jesu n Saisan
xiii.Music management in Nigeria: an Introduction
xiv.Compositional techniques in Christian music: biblical and spiritual dimensions
xv.Ijo Jesu of Dupe Olulana
xvii.Voice training and singing for the church choir: the biblical and spiritual dimension
xix.Personal Compositions in Ife Music Editions
xx.‘A New Song in my Mouth’: Transforming our World through the Music of the Saints
xxi.The Interplay of Life Experiences versus Musical Composition
xxii.Notating African Music for Global use (new edition)
xxiii.Improvised homophony in African Music.
I pioneered Ife Mass Choir in 1994 and also pioneered and directed ‘Gospel Music Extravaganza’, a Quarterly Music concert held in Lagos, between 1998 and 2004. The Institute of Christian Music and Research Centre, a self-sponsored research outfit was established since 1998. I organized and directed ASAPH National Christian Music Workshop/Concert (an Annual event) between 2001 and 2007. In 1992, I composed the popular ‘A! ni ipinle Osun’, a Yoruba song waxed as a track, still played on Osun Radio till date. Some of my song compositions are being used for performance and teaching purposes both in and outside the academia.
In addition, I developed the curricula for the Departments of African and Western Church Music under the Faculty of Church Music of the Nigerian Baptist Seminary, Ogbomoso, for Certificate, Diploma, Degree, Master and Doctorate programmes in 2010. I also pioneered the Department of Christian Music in CAC Theological Seminary in 2016 and developed its curricula for Certificate, Diploma and Degree programmes.
G.CONFERENCES, SEMINARS AND WORKSHOPS ATTENDED WITH DATES
Conference of Music Educators in Nigeria (COMEN), 2nd National Conference,
Kwara State College of Education, Ilorin. – 2001
Conference of Music Educators in Nigeria (COMEN), 3 rd National Conference,
Federal College of Education, Okene. – 2002
Musicological Society of Nigeria (MSN), 4th National Conference, University
of Ibadan, Ibadan. – 2004
Conference of Music Educators in Nigeria (COMEN), 4th National Conference,
Adeniran Ogunsanya College of Education, Ijanikin, Lagos State. – 2004
Faculty of Arts’ Conference, Obafemi Awolowo University, Ile-Ife. – 2004
African Digital Music Workshops in Nigeria, organized by the Secretariat of
International Centre for African Music & Dance, Institute of African Studies,
University of Ibadan & University of Ghana – Legon, held at Obafemi Awolowo
University, Ile-Ife. – 2004
Faculty of Arts’ Conference, Obafemi Awolowo University, Ile-Ife. – 2005
Fela Sowande Centenary Conference, University of Ibadan, Ibadan. – 2005
International Conference on Black Music Research, Columbia College Chicago – 2006
International Symposium and Festival on Intercultural Music Arts, University
of Granada, Spain – 2006
27th World Music Conference, Kuala Lumpur, Malaysia – 2006
6th National Conference of Musicology Society of Nigeria, Nnamdi Azikiwe
University, Awka – 2006
International Conference on Intercultural Music, Churchill College, Cambridge, UK – 2007
Conference on Society, Culture and Change, Obafemi Awolowo University, Ile Ife – 2007
Faculty of Arts’ Conference, Obafemi Awolowo University, Ile-Ife – 2007
Pan African Society for Musical Arts Education Conference, Malawi – 2007
xvii. Faculty of Arts’ International Conference, Obafemi Awolowo University, Ile Ife – 2008
Association of Nigerian Musicologists’ Conference, Adeniran Ogunsanya College
of Education, Ijanikin – 2008
Meki Nzewi International Conference, Nnamdi Azikiwe University, Awka – 2008
xx.International Colloquium on African Arts and Civilization, Brazil – 2009
xxi.Pan African Society for Musical Arts Education Conference, Lagos – 2009
xxii.Conference of Music Educators in Nigeria (COMEN), Ilesa – 2010
xxiii.Association of Nigerian Musicologists’ Conference, Uyo – 2010
xxiv.Pan African Society for Musical Arts Education Conference, Ghana – 2010
xxv.Association of Nigerian Musicologists’ Conference, Ibadan – 2011
xxvi.Association of Nigerian Musicologists’ Conference, Nsukka – 2012
xxvii.Conference on African Musicology, Institute of African Studies, U.I. – 2012
xxviii. Conference on Music and Empathy, University of Hull, UK – 2013
xxix.Association of Nigerian Musicologists’ Conference, Port Harcourt – 2014
xxx.Association of Nigerian Musicologists’ Conference, Port Harcourt – 2015
xxxi.Conference of Music Educators in Nigeria (COMEN), Awka – 2015
xxxii.36th Annual Conference of the National Association for the Study of Religion – 2015
xxxiii.Association of Nigerian Musicologists’ Conference, Port Harcourt – 2016
xxxiv.Philosophy and Culture International Conference, OAU, Ile Ife – 2017
xxxv.Association of Nigerian Musicologists’ Conference, Abraka – 2017
H.CURRENT RESEARCH ACTIVITIES
a. Systematizing Theories of Yoruba music
b. Theories and Research Methods of African Musicology
c. Singing Styles and Techniques in Africa
d. Compositional and Performance Techniques for Church Musicians
I.OTHER RELEVANT INFORMATION
1.Services within the Department
a. Secretary, Departmental Meetings 1995-2002
b. Coordinator, Departmental Journal (Nigerian Music Review) 2001-2008
c. Editor-in-Chief, Departmental Journal (Nigerian Music Review) 2007-2008
Staff Adviser, Music Students’ Association of Nigeria, O.A.U. Branch 1995-2009
e. Course Adviser, Parts I & II Students 2000-2007
f. Chairman, Planning Committee, Departmental Christmas Tide Concert 2001
g. Chairman, Planning Committee, Departmental Concert for O.A.U.
Ife Outreach Project 2002
h. Caretaker, Departmental Archives 2002-2006
i. Acting Head, Department of Music 2008/2009; 2013-2015
j. Head, Department of Music 2015-2018
k. Editor, African Music Classics 2009-2018
l. Editor, Ife Music Editions 2012-2018
2. Services within the Faculty
a. Member, Faculty of Arts Research Committee 2002-2004
b. Chairman, Cultural Sub-Committee, Faculty of Arts’ Week: 2004-2005
c. Member, Faculty Review Panel 2004-2008
d. Dean’s Representative; Board of Management, Natural History Museum 2007
e. Member, Faculty Admission Committee 2013
3. Services within the University
a. Staff adviser, Federation of Ekiti State Students’ Union (OAU Chapter) 2000-2005
b. Associate Lecturer, Department of Educational Technology, O.A.U. 2009
c. Organized and Directed Campus ‘Peace’ Concert 2008
d. Facilitator, Living Spring Music Festival 1995-2008
e. Assistant Editor, ODU: A Journal of West African Studies 2013
4. Services outside the University
a. Consultant, Bola Are School of Gospel Music, Ibadan 1997-2017
b. Zonal Chairman, Gospel Musicians’ Association of Nigeria 1998-2013
c. Editor, Nigerian Christian Music Guide 2001-2012
d. Editor-in-Chief, Journal of Nigerian Music Education 2010-2017
e. Auditor, Conference of Music Educators in Nigeria 2002-2004
f. Examiner & Moderator, JAMB 2005-2009
g. Member, Editorial Board, African Musicology Online 2007-2017
h. Reviewer, Journal of Religion and Popular Culture 2008
i. Member, Editorial Board; Journal of the Association of Nigerian
Musicologists (JANIM) 2005-2018
j. External Moderator, Ekiti State College of Education, Ikere Ekiti 2007-2012
k. External Examiner, Lagos State University, Ojo, Lagos 2009-2012
l. External Examiner, Nnamdi Azikiwe University, Awka, Anambra
m. Consultant, Joseph Ayodele Babalola University, Ikeji Arakeji 2008-2010
n. PGMAS Moderation, Nigerian Universities Commission 2009
o. External Examiner, University of Lagos, Akoka 2012
p. External Examiner, University of Ibadan 2012
q. External Examiner, Delta State University, Abraka 2010; 2017
r. Adjunct professor and Postgraduate Coordinator, Faculty of
Church Music, Nigerian Baptist Theological Seminary, Ogbomoso 2010-2017
s. Consultant, Life School of Music, Ikorodu 2012-2013
t. Member, Accreditation Team, College of Education, Ikere Degree
u. National Secretary, Association of Nigerian Musicologists 2008-2012
v. President, Association of Nigerian Musicologists 2012-2017
w. Consultant, CAC Theological Seminary, Ile Ife 2014-2017
5. Co-Curricular Activities
a. Training singers
b. Composing, Performing and Producing Music
c. Directing, Recording and Promoting Music
d. Choral training and Conducting
e. Organising Concerts and Workshops for Christian Musicians
f. Counselling, Charity and Humanitarian Works
g. Priestly and Prophetic Functions.
J.CONTRIBUTIONS TO KNOWLEDGE
My areas of specialisation are ‘African Musicology’ and ‘Music Theory and Composition’. My contributions to African Musicology have been in the area of Religious Music, which constitutes a wide spectrum of musical genres in Nigerian music scholarship. I have studied in-depth the traditional Ifa and Christian music in which I have documented and analyzed both the song-forms and their performance-practices. The studies apart from supplying useful academic information on the two musical types, have opened ways for meaningful comparative musicology between them. One of the most sacred religious musical forms in Nigeria is the hymn. Although hymns in African idioms have been composed from time immemorial, they are yet to have their place as a genre in the academic study of Religious music in Africa. In order to develop African hymnology meaningfully, a study of preliminary concepts and usage, and the analysis of performance-practices by ancient cultures are indispensable as a solid theoretical and historical foundation. These have been extensively dealt with in my research. Also, Nigerian gospel music, another prominent stylistic form of religious music which today constitutes 50% of the total number of musical genres consumed in Nigeria and which at the same time ‘has exerted a broad influence on more than one facet of our contemporary culture’ as asserted by Boyer, did not receive enough attention in Nigerian music scholarship before now. As a result, I have researched and still researching on various aspects of the genre with a view to systematizing the theories that underlie its performance-practices and developing the genre to serve as machinery for national development.
In the area of music theory and composition, I have made some significant contributions. Firstly, I have propounded two new theories – Theological (Bibliological) Musicology and Transformative Musicology. Theological Musicology has its place in the theory and methodology of studying various Religious Music in Africa (as entrenched in Sacred Musicology). The ethnomusicological method, which encompasses various approaches such as sociology, anthropology, philosophy, musicology and leaves out theology in the study of Religious Music, has been found to be inadequate. Since Religious Music (be it Ifa, Christian, Islam or Hindu) is a theological-musical fabric, its theology is imperative. The right methodology combines theology with the existing approaches. This has been successfully argued in one of my publications. The new perspective probes into the theological basis and contextual-textual interpretation of Religious Music with the view to revealing the psycho-spiritual and socio-political import of the music to contemporary Nigeria and the World. Transformative Musicology, which is a development on Intercultural Music, focuses on making musicological studies relevant to the search for global peace, harmony, stability, security of lives and educating the human mind against crimes and other social vices. It also gives answers to questions left out in already existing theories.
Secondly, apart from the theoretical analyses of New Testament and traditional Yoruba hymns, I have attempted to solve two major problems in theory of African music; notably that of pitch/tonality and the notation of African music with computer technology. In addition, my research on theory and problems of analysing African music has resulted in the publication of study/reference materials for scholars and students of African music theory. These include ‘Metric Organisation and Scale Structure in African Music’, ‘Melodic Analysis of African Music’ and ‘Harmonic Analysis of African Music’.
Furthermore, since my last promotion and as follow up to the contributions above, I have engaged in rigorous research on the theoretical, theological, and stylistic dimensions of Nigerian Church and Gospel Music on the one hand, and on the other, I have focused on various salient problems facing Nigerian music education, scholarship and ‘art’ music, while at the same time exploring the meta-musical dimension of African ‘art’ music composition. My recent researches have exhumed the theoretical, aesthetic and pedagogical principles underlying indigenous and African ‘art’ music composition and performance. In addition, I have reconstructed the historiography of African Musicology, opened new vistas in indigenous music practices, popular culture, music therapy, musical arts and indigenous musical instrumentation, and brought into fore, useful theories in Christian Sacred Musicology. The assertions made in those researches are germane to the development of African Musicology as a field in general.