SOURCE:

Faculty: Arts
Department: Music

CONTRIBUTORS:

Chukwuneta, R. I;
Agu, D.C.C;

ABSTRACT:

The introduction and use of indigenous liturgical music for worship in late nineteen sixties became a turning point in mode of worship in the Onitsha Catholic Archdiocese. In a field work that lasted for sixteen months, the anthropological and musicological method were employed, using questionnaires as main research instrument; while composers, choirmasters, choristers, priests and laity served as research population. Secondary information was also obtained from relevant published and unpublished documents. The findings reveal three main periods of musical development in Catholic liturgy within the period under study. The use of Latin language and Gregorian chants dominated the first period between 1887 and 1960. The second period (1961-1875), was the innovative period which ushered in the contemporary indigenous liturgical music. And the third period (1975-2010) is regarded as period of exposition and development. Which advanced the quality of the indigenous liturgical music, as well as introduced the second genre called “choruses” or “gospel songs”. Both genres possess rich repertoires which get worshippers deeply involved in worship through active participation. The mode of creation of the first genre indicates that the composers mutated the songs, mostly in the tonic solfa while the composers of the “choruses” create and teach all songs by rote. A study of their structural patterns reveals that the choruses possess short melodic motifs. They are vibrant with strict rhythmic tempo. The contemporary anthems are on the other hand harmonized for a four part choir led by a conductor. Both genres are seen to be authentic because they reflect the spirits and personality of the Catholic faithful who sing and own them.