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COMPOSITIONAL TECHNIQUES OF YORUBA ISLAMISED 

GOSPEL MUSIC 
                                                 

Dr Adedayo Ezekiel Babatope  

Department of Music, 

Babcock University, Ilishan-Remo, Ogun State 

Email: adedayoe@babcock.edu.ng.com 

 

Abstract 

Yoruba Islamised Gospel Music (YIGM) is a genre that is situated within three main world 

cultures of  Western Europe, Arab and Africa. The multicultural uniqueness and the 

inherent adventured/ creativity that characterise twenty first century have to an 

appreciable degree influenced the compositional and performance practice of Yoruba 

Islamised Gospel Music (YIGM). With a particular attention to Wákà Àpàlà and Fújì 

gospel, this study was designed to examine couples of compositional techniques/devices 

encapsulated by this brand of gospel music, with a bid to ascertain the degree of cultural 

nuances/ postmodernism traits it embodies, as well as the implications of such features 

in Nigerian gospel music (NGM) scene. Within ethno –musicological approach, this study 

explored cultural pluralism and social evolution as its theoretical frame works. Relevant 

data were sourced from text books/journals alongside informant/in depth interviews and 

documentations of the musicians’ performances on audio tapes. Inferences from the 

study unfolded diverse compositional techniques contrived by the artists which spanned 

repetition, variation, hocket, appoggiatura, mellismatic note setting, recitative 

(heightened speech), harmony, slogan, overlapping and interjection. It was also evident 

that the compositional techniques harnessed by the artists of YIGM resonate African, 

Judo-Christian and Arabian- Islamic cultural landscapes. Furthermore, it was deduced 

from the study that the inherent multicultural nature of YIGM is gratifying in term of 

its general and musical roles. This paper concluded that Yoruba Islamised gospel music is 

potential for cultural synergy and dynamism, a stance attested by its compositional 

techniques and acceptability within the mainstream of Nigerian gospel music.  

Keywords: Yoruba Islamised gospel music, Multiculturalism, Mellismatic         

 

Introduction 

In the pre-colonial, Islamic and Christian eras, the Yoruba music was distinct in 

instrumentation, vocal types, performance contexts, to mention a few. This stance was 

evident in a vast number of vocal forms that were engaged for religious and secular 

ceremonies. For instance, Ìjálá, a vocal music, is presented by the hunters, Ìyẹ̀rẹ́ Ifá 

by Ifá priests, while ẹkún ìyàwó is usually performed to accompany a bride during her 

wedding ceremony. The premium placed on text informed the massive textual 

expressions, spanning figurative, proverbial and philosophical declarations among others 

(Adedayo, 2021). The advent of colonization, Christian Missionary Movement, both from 

Western Europe and Arabian Islamic tradition profoundly reshaped Yoruba music. The 

European influence culminated in the emergence of diverse Christian musical forms, 

namely Church music including hymnody and gospel brand. Meanwhile, the Islamic 



 

 
  

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movement evoked two musical practices designated ‘Islamic’ and ‘Islamised’ music. While 

Islamic as elucidated by Omibiyi (1979) and Daramola (2007) depicts musical practice 

entrenched in Islamic tradition, the latter delineates Yoruba musical practice that has 

been influenced by Islamic culture. Construed as a reaction from the liberal to indignation 

launched against the profane appropriation of music by the Islamic religious leaders, 

Islamised music which emerged as a semi-religious miniature, metamorphosed to socio-

religious and socio-cultural status of popular form.  

 

Omibiyi (1979)’s allusion to Yoruba popular music of Islamic origin is insightful. The 

scholar designates this subgenre with its variants; Wákà Àpàlà and Fuji that are aptly 

composed and performed essentially by Musicians of Islamic religious background as 

‘Yoruba Islamised popular music’. As a corollary to quest for creativity and adventure, 

corroborated by allegiance to primordial religion, a vast number of artistes have emerged 

in recent times, who integrate Yoruba Islamised popular styles with the conventional 

gospel music. The synergy between Yoruba gospel music and the popular music of Islamic 

derivatives is consummated in a musical synthesis deciphered by this researcher as 

Yoruba Islamised Gospel Music (YIGM). The aftermaths of this amalgamation, 

underpinned by post-modernism are apparent in textual content, 

compositional/performance contexts, instrumentation, aesthetic, and compositional 

techniques. This study interrogated compositional techniques ascribed to YIGM, with a 

bid to ascertain its inherent cultural nuances, reminiscences of post modernism and the 

efficacy portrayed by such a musical trend within the mainstream of Nigerian Gospel 

music. In ensuring brevity, simplicity and also abate monotony of usage, the acronym 

"YIGM" has been abstracted for Yorùbá Islamised Gospel Music in this study.  

 

Compositional Techniques  

The present styles are significantly defined by a myriad of compositional devices. 

Enlisted are, repetition, variation, hocket, appoggiatura, mellismatic note setting, 

recitative (heightened speech), harmony, slogan, overlapping and interjection,  

 

Repetition 

The concept of repetition and its modifications is extensively engaged within the 

framework of musical form. In a bid to combat the challenge of monotony that often 

emanates from the usage of this device, a scheme is appropriated by the artistes in which 

case, melodically synonymous stanzas and verses are stocked with varied textual 

messages. The second stanzas and chorus of modupe ore mi (I am appreciative of God’s 

benevolence) deducted from Wákà gospel append to this design. On the other hand, 

occasions have been sighted in which textually analogous phrases appropriate contrasting 

melodic lines. This scenario is depicted by song from  Fújì gospel.    

    

 

Excerpt on Technique of Repetition, Wákà gospel (Melodically analogous) the same 

melodic line laden with the contrasting texts.  

 Iba fun Baba loke a seba re o verse one  

 Moni Jésù loba ota ma pofo verse two 



 

 
  

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Musical example: 

 
 

 

Excerpt on technique of repetition from Fújì gospel (Textually analogous), abstracting 

phrases with textual repetition and melodic variation' musical example: 

 
 

 

Variation 

The technique of variation is intensified by a host of compositions appropriated. 

Contrasting melodic phrases, verses and sentences have been observed to advance the 

course of aesthetic in African music. Besides stemming the tide of monotony, variation 

arouses innate interest and propensity in the subconscious faculty of the audience. The 

solo and the chorus of Àpàlà gospel present absolute textual and melodic variations as 

follows         

 

 

 

 

 

 

 

 

 

 

 

 

 



 

 
  

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Excerpt on variation form in Àpàlà gospel musical example 

 

 
In a bid to consolidate variation, the device of textual phrasal contradiction showcased 

in the ending words or notes (suffix) has been sighted in this research. Such a feature 

characterises Fújì gospel in the excerpt below     



 

 
  

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Hocket Technique 

 A rhythmic linear technique exercising alternation notes, voices, pitches, or chords, 

hocket is maximally adopted in the creation of music including styles presently engaged. 

In the semblance of medieval practice, a verse number of songs interrogated is 

structured, in which case, a single melodic line is shared usually between two (sets of) 

voices. A voice or set of voices sings while the second voice or set of voices observes a 

respite. A technique of this attribute is embodied by the responsorial format of Wákà 

gospel (Olúwa pàṣẹ ìyàwò).          

Excerpt of hocket technique from Wákà gospel  

 
 

Appoggiatura 

A musical ornamentation harnessing a note or notes of embellishment preceding and 

delaying the next note (principal), appoggiatura in a sense arouses excitement in an 

audience whose affinity and aesthetic reside in vocal displays. Though this technique 

parallels slurring, neumatic, mellismatic melodic setting and other devices as vocal 

techniques, a line of distinction is established among them in principle and practice. While 

the integral notes of slur and melodic setting are numerically germane, appoggiatura is 

effectual, solely from qualitative perspective of tone coloration. Besides the 

characteristic sound effect evolved from this scheme, the variation device engendered 

is desirable.  

Appoggiatura: excerpt from Fújì gospel-Ekaleluya (Shout Alleluia) 



 

 
  

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Excerpt on mellistmatic note setting, Àpàlà gospel 

 
 

 

 

Recitative (Heightened speech); Fújì gospel 

 



 

 
  

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Harmony 

Chord progression evinced in hymn tune, where a melodic line and accompaniment part 

proceed step wise with one another is at variance with traditional African harmonic 

concept in music. A list of harmonic textures that codify African music has been 

advanced by Nketia (1974) namely; monotony, polarity, homophonic parallelism, occasional 

heterophony, contrapuntal polyphony, ostinato/ overlapping, cadential homophony and 

homophony polyphony. Adedeji (2004) corroborates this insight. 

 

The harmonic features that delineate the compositions amassed particularly, the 

textural designs and artistic creativity/intricacy showcasing them, contrast the 

conceptual principles of monophony at inception. Polyphony in its variants constitutes a 

prominent texture of the compositions harnessed. At least, two parts are vivid including 

the melodic line. It should be reiterated that this design, in which independent parts 

comprising the melody and the accompaniments (alto, tenor, baritone) are contrapuntally 

aligned, is anomalous to the homophonic sensitivity of vertical harmony.  

 

The textual outfit that mediates between the conventional vertical chord progression of 

hymnody and the parallelism denoting the music of Yorùbá, situate compositions amassed 

within the harmonic framework of polyphonic/ homophonic texture. To be succinct, 

homophonic parallelism has been interchangeably appropriated in this study. Two parts 

harmonic texture that contradicts the device of vocal unison defines an ample of 

compositions collated. The design of this nature coopt one other part in homophonic 

parallel motion to the melody. Such an arrangement is exemplified by the following 

excerpts;  

Two Part Harmonic Texture Wákà gospel Iba fun baba loke (Adoration to the 

Almighty) 

 
Compositions are sighted in which case, rather than one, two distinct notes that assume 

or stimulate alto and tenor of the western harmonic concept are added to the melodic 

line. Polyphony in this nature is portended as follows in Àpàlà gospel. (Reali Àpàlà)  

  

 



 

 
  

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Excerpt on Three Part Harmonic Tecture, of Àpàlà gospel music (Reali Àpàlà)

  

Yet, a seemingly four part harmony is vivid in a Wákà composition. In this device, the 

melodic notes are echoed an octave down by the baritone to improvise the bass notes. 

An example bellow justifies this feature;  

 

 

 

 

Excerpt on Four Part Harmonic Texture in Wákà gospel - Wákà Jesu (Jesus’ Wákà) 

  
Slogans/Vogues (Ijasa) 

Songs collated. are characterised by skillful appropriation of slogans. Àpàlà and Fújì 

gospel are particularly laden with such non intelligible syllables/words. The following 

statements/phrases from Àpàlà gospel by Bois Ọlọ́run are elucidative.  

Solo:  Mo lè ṣe báyìí dọ̀la  Solo: I can maintain this statuoquo till 

tomorrow  

Chorus: Nítorí Jésù kí síbẹ̀  Chorus: Christ is awesome  



 

 
  

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Contextually, the personality of Christ is extolled in the above musical passage extracted 

from song (ix) of Bois Ọlọ́run's Àpàlà gospel style. The artists allude to the 

awesomeness and overwhelming benevolent nature of Jesus by contriving the phrase “ki 

síbẹ̀”,  

"ó ṣemí jọ̀lìjọ̀lì" 

A state of appeasement is acknowledged by the same artistes in another statement, in 

the same track; "ó ṣemí jọ̀lìjọ̀lì". In the context of usage, the adjective “jọ̀lìjọ̀lì” 

connotes the enliven spirit in which the artistes revel. Other slogans displayed by Bois 

Ọlọ́run include the following:  

 “Ẹ̀mi mímọ́ ni pàdí wa". A word also drawn from Àpàlà gospel 

"padi" delineates intimacy between or among personalities.    

Solo: Ọjọ́ ọjọ́ ńlá n lọjọ́ yẹn       

   Ọjọ́ tí Jésù "rẹmisi" 

 

The word ‘remisi’ suggests an approval/accreditation of a proposal in that context of 

abstraction. It bespeaks an endorsement by God of the style of music which the artistes 

appropriate. Nevertheless, it is non intelligible.    

Solo: Ìyàwó, àwọn tó ń jàn ẹ́ mọ́lẹ̀ ní gboro Solo: Woman, men that defile you  

  Wọn á di kálámú fún ẹ   will soon despise you 

 

The word “kálámú”, a coinage of a Yorùbá vogue, “kálá”, contrived in Àpàlà gospel by Pastor 

Olawale Taiwo, implies a purposeful and predetermined rejection or "showdown" hauled 

at an individual. The conglomeration of such words evokes a scenario that contrasts with 

Yorùbá musical aesthetic, which resides essentially in textual meaningfulness within the 

ambit of explicit and implicit cultural association, guarded by the society and individuals. 

These words spurs the course of compositional techniques/creativity in the domain of 

music, thereby, enable listening pleasure in the prospective audience.    

      

Overlapping 

Overlapping is a structural arrangement in which two or more vocal or instrumental parts 

in a musical composition or performance overlap each other or one another. An 

identifiable Western and African musical cultural trait, overlapping establishes 

somewhat, sociability in composition and performance organisation between the solo and 

chorus. However, rather than alternation, both the solo and chorus simultaneously engage 

distinctive textual or melodic lines. This technical design is portended by Àpàlà gospel 

  

 

Excerpt of overlapping from Àpàlà gospel music 



 

 
  

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Interjection 

Another innate trait germane to the composition and performance of the Yorùbá 

Islamised popular music that has been infiltrated in to YIGM, is the phenomenon 

construed as interjection. This technique, often contained in a number of speech or song 

texts disseminated from a source (voice) sometimes other than the solo and the chorus, 

is prominently resonated in quite a number of pieces. Interjection on one hand, and in 

part, attests creativity within the ambit of composition. On the other hand, it delineates 

a trend towards secularism in the world of gospel music. This reality justifies the non 

liturgical adaptability and contextualization of gospel music. Diverse mechanisms have 

been explored for the delivery of interjection by the artistes in this study. In a device, 

the design is positioned in between the solo and the chorus. An excerpt extracted from 

Àpàlà gospel music replicates such placement.  

 

 

 

 

Excerpt of interjection (between solo and chorus),  Àpàlà gospel Music 

  

Excerpt of interjection: textual (between solo and chorus), Àpàlà gospel (Text) 

 

Solo: Tọ̀tún tòsì màá fi kóre wálé  Solo: From left and right I will amass fortune

  



 

 
  

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Chorus Ha, ire ire ni yóò ma tẹ̀lé wa ire ire Chorus Ho fortune, fortune shall pursue 

me  

Solo: Gbogbo ìṣòwò ẹlẹgbẹ́ mi  Solo: My entire band members   

Interjection: Ẹ sàmí o (speech texts)  Interjection Ẹ sàmi o (speech text)  

Chorus: Ire ire ni yó ma tẹ̀lé wa   Chorus  Fortune, fortune shall pursue us,  

 ire ire       fortune, fortune.  

 

In another format, interjection is aroused by the solo presenting a bridge between two 

chorus lines. The specimen below deducted from Wákà gospel exemplifies such 

applications. 

 

 Excerpt of interjection: textual (between two choruses by a solo bridge), Wákà 

gospel (textual)  

Chorus Olúwa yó ṣe tèmi fún mi o Chorus  The Lord will advance my course 

  

Olúwa yó ṣe tèmi fún mi    The Lord will advance my course 

  

Interjection (Solo): Ta ló bá ọ ṣé? Interjection  Who advanced your course  

Chorus Olúwa ló ṣe tèmi fún mi o Chorus  The Lord advanced my course  

  

 Olúwa ló ṣe tèmi fún mi   The Lord advanced my course 

  

 Mo gbOlúwa gbọ́ lOlúwa    I believe in God and Lord advanced 

   

 fi bámi ṣé     my course 

Ọmọ Ọlọ́run ló sọ̀rọ̀ mi dayọ̀   The Son of God advanced my God 

  Olúwa ló ṣe tèmi fún mi   The Lord advanced my course 

 
  

 



 

 
  

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The Efficacy of Compositional Techniques of Islamised Gospel Music 

From perspective of compositional technique, multiculturalism and postmodernism that 

characterise Yoruba Islamised gospel music are consequential in certain respects. 

 

General Efficacy 

Popularisation of YIGM 

The exit of this brand of music from the confinement of the church liturgical service of 

divine worship, a development that affords extensive adaptation of devices namely, 

slogans/vogues, overlapping, interjection, nonsensical syllables among others, to a high 

degree implies secular treatments of gospel music. The urge for musical compositions 

and performances that could evoke emotional sensitivity in the twenty first century is 

gratifying at the instance of youth audience, whose quest essentially resides in fantasy, 

adventure and sometimes illusion. It is needful to reiterate that popular music of Islamic 

variants emerged as a reaction to resentment launched towards liturgical appropriation 

of music by the religious leaders in the nineteenth century.     

Expounded Audience scope 

 Compositional techniques which define Yoruba Islamised gospel music are culturally 

multidimensional in scope. Repetition, variation and hocket devices that are severally 

ingrained within the musical /structural format of responsorial and antiphonal are 

indigenous to Africa. On the other hand, Arabian vocal styles are delineated by recitative 

modes, mellismatic note setting and appoggiatura/slurring. Averse to the monophonic 

harmonic texture that characterise the popular Islamised music, YIGM contrives 

polyphonic/homophonic texture that delineate Western/ European harmony, ranging 

from two to four parts. In addition, twenty first century devices that are contained in 

slogans and nonsensical syllables, interjection and overlapping are apparently showcased 

in the styles of this study. Such multifarious techniques engendered by Àpàlà, Wákà and 

Fújì music have been effectual in engendering diverse audience in their distinctive tastes.  

Expounded Performance Contexts 

The popularization and wider audience scope aroused by YIGM styles are aptly implicating 

in the pastiche of the observable compositional and performance contexts. Contrary to 

the foundational concept of gospel music within the ambience of church liturgy, its 

contemporary exhibition portended by YIGM compositional techniques has transcended 

religious adaptation to incorporate socio- religious, socio-cultural and even, 

entertainment contexts. The boundary line between the liturgical and non liturgical usage 

of YIGM is to a large extent, a factor of permissiveness, extensively manifested in a 

much heavier instrumentation, body articulation by the musicians and the audience 

(Adedayo, 2021). However, the outdoor adaptation of Àpàlà, Wákà and Fújì gospel music 

is not solely evident in instrumentation and body articulation; it is also embodied by an 

array of compositional techniques spanning interjection, overlapping, slogan and 

nonsensical syllables  

Socio-cultural Integration 

In a heterogeneous society of Nigeria, nuanced with contrasting religious and cultural 

ideologies, a unifying factor is imperative. In the domain of music, Yoruba Islamised 

gospel music underpinned by its compositional devices is succinct to afford the needed 

community of oneness, stemming from its inherent cultural diversity. This stance is 



 

 
  

Awka Journal of Research in Music and the Arts (AJRMA) Vol. 16, September 2023 

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attested by the Arabian vocal styles of slurring, appoggiatura and mellismatic note 

setting, western harmonic textures as well as African techniques of repetition and 

variation. 

Musical/Aesthetic Efficacy 

Artistic Proficiency 

Of all musical elements, compositional technique is the most exerting influence to convey 

artistic dexterity on board. Citing devices interrogated in this study as templates, the 

intricate adoption of the contracted techniques by the respective musicians is a full 

proof of artistic virtuosity. The alternation of repetitive mode with variation, 

responsorial with strophic responsorial, buttressed by hocket technique is gratifying. 

The massive adoption of overlapping, interjection,  mellismatic note setting alongside 

slurring and appoggiatura, all attest  this discourse.   

Structural and Functional Roles 

Broadly, mention should be made of two cogent obligations at the instance of repetition 

and interjection harnessed; structural and nonstructural. The discourse so far has 

presented both devices (repetition and variation) as integral parts of internal structure 

of musical composition. Besides the structural usage, however, these techniques are quite 

appealing in the functional role of intensification and message memorisation/ retention. 

They are apt to engrave the image of the subject matter of the musical passage in the 

memory of the audience. Justification for the repetitive nature of Nigerian Gospel music, 

particularly the Yorùbá derivative is evident in Adedeji’s (2004) depiction; “philosophy 

of intensification". The scholar advances that the use of much repetition in Nigerian 

gospel music is essentially premised on a Yorùbá adage which says “iṣu atẹnumọ́ràn kì 

í jóná” (communication to an impaired ear is made repeatedly).  

 Unity and Variety 

In micro and macro spheres of life, the ambivalent concept of unity and variety is 

imperative for ensuring balance and stability. Within the ambit of music, the foregoing 

has been addressed by Hickok (1993: 26) who postulates that unity gratifies the 

listener's quest for ‘coherence’ and ‘familiarity’. Contrastingly, the scholar portrays 

variety as appealing to the human enjoyment of the ‘new’, ‘different’ and ‘unexpected’. 

Such a scenario that engenders dynamism, severally enlivens audience prospective utility 

and affinity towards music. Respectively, repetition and variation as templates of unity 

and variety in this study do not only invigorate artistic dexterity, but have also been 

contrived to obviate monotony and boredom in the music making and music usage.   

Vocal Aesthetic 

The inherent vocal style harnessed by the YIGM artists is largely vested in Arabian vocal 

techniques of voice ornamentation, spanning shaky, slur, vibrato, appoggiatura, 

mellismatic, to mention few. Conglomeration of these devices profoundly fortifies vocal 

aesthetic imbued in Yoruba Islamised gospel music, which eventually animates listening 

pleasure in the prospective audience, a response to the desirable textual and sound 

effect. Asserted by a Cleric (Alfa Quadry), vocal technique is supremely esteemed by 

Arabian-Islamic religion/culture, which entails formal training. 

 

Conclusion 



 

 
  

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YIGM is a multicultural subgenre of Yoruba gospel music, a reality encapsulated by its 

multifarious compositional techniques, namely; repetition, variation, hocket, 

appoggiatura, mellismatic note setting, recitative (heightened speech), western harmonic 

texture, slogan, overlapping and interjection. The inherent cultural nuances of Yoruba 

Islamised gospel music is consequential at the instances of its popularization, expounded 

audience scope and audience performance contexts as well as  its efficacy in socio 

cultural integration. As part of conclusion, the compositional devices embodied by YIGM 

exert a vast number of musical effects which are evident in artistic proficiency, terse 

structural and functional roles, unity and variety, coupled with vocal aesthetic, a stance 

that is credible for expounding aesthetic scope and acceptability of gospel music in a 

contemporary and changing society of Nigeria.    

 

 

References 

Adedayo, E.B.(2021) African Identities in Yoruba Islamised Gospel Music in Christian 

 Music Musicology. 1: 91-120. 

Adedeji, S.O. (2004). “Nigerian Gospel Music: A Study of its Styles” An Unpublished PhD  

 Thesis. University of Ibadan. 

Daramola, O. (2007). 2007. Islamic and Islamised musical cultures among the Yorùbá:  

The contact, the concept and the concord. African Musicology On –line. 1. 2: 46-

58. 

Hickok, R. (1993). Exploring Music(5th ed. ). Oxford: W. M. C Brown Communication Inc 

Keesing, R. M. & Keesing, F. M. 1971. New Perspective in Cultural Anthropology, Holt,  

Rinehart And Winston, Inc. 

Nketia, J. H. K. 1974. The Music of Africa. London: New York: W. W. Norton.  

Omibiyi, M. A. 1979. Islamic Influence on Yorùbá Music. African Notes 8. 2: 37-52. 

           

 

Internet Sources 

https://www.dictionary.com/browse/cultural-pluralism 

https://scholarworks.wmich.edu> 

kuhl-cher-uhlphor-uh-liz-uhm 

 

 

Title of the Article- Compositional Techniques of Yorùbá Islamised Gospel Music 

(YIGM) 

Name of the author- Dr Adedayo Ezekiel Babatope  

Institution-Department of Music Babcock University Ilishan-Remo Ogun State, Nigeria 

Phone No- 08066436445 

Email – adedayoezekiel37@gmail.com 

 adedayoe@babcock.edu.ng 

 

 

 
 

https://scholarworks.wmich.edu/
mailto:adedayoezekiel37@gmail.com

