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FROM TRADITIONAL FOLKTALE TO WESTERN CHORAL 

CONCEPT: AN INQUIRY INTO KAYODE OGUNTADE’S 

ARRANGEMENT OF “OMO OBA SOKOTO” 

 
Dr. Michael Adeleke Bakare  

Department of Music, 

Meadow Hall College of education, Lagos 

E-mail: mbabakare@meadowhallschool.org 

 

Abstract 

Recent studies have focused on the cultural exchange between traditional folk music and 

Western classical music which has often yielded captivating adaptations, bridging diverse 

musical heritages and transcending cultural boundaries. However, the adaptive ability of 

Nigerian composers to transform the monophonic materials of folk into the choral 

concept needs more scholarly attention. This study, therefore, examines the 

transformative journey of the traditional folk song "Omo Oba Sokoto" as it evolves from 

its original context into a Western choral arrangement arranged by Kayode Ogunbade. 

Data is drawn from oral interviews, biographical information, compositional analysis, and 

available literature with insights into Kayode Ogunbade's motivations, challenges, and 

aspirations during the arrangement process. The study revealed that elements of the 

folk narrative are preserved through the strategic use of vocal textures, rhythmic 

motifs, and harmonies that evoke the cultural context of the source material. 

Furthermore, the choral arrangement acts as a bridge between the traditional African 

folk heritage and the Western classical tradition, embodying a fusion of musical 

sensibilities. By exploring the convergence of tradition and innovation, this inquiry 

illuminates the transformative power of music in fostering cross-cultural appreciation 

and artistic evolution. 

Keywords: Folk, choral, Composition, Inter-acculturation, Stylistic, Traditional 

 

Introduction 

The majority of musical activities that are prevalent in several socio-religious and other 

ceremonial events in modern Nigeria present the appearance of being significantly 

different from the indigenous and traditional folk music practices. This deviation is 

mostly the product of both internal dynamics and some external sociopolitical and 

cultural influences. A few aspects of Nigerian traditional values and lifestyles were 

altered and disrupted by the dramatic transformation of the society, especially as a 

result of cultural contacts with the West, the Middle East, and Asia, as well as by 

urbanization, industrialization, and religion. One such aspect is the traditional folk 

music’s artistic expressions and patronage. As a result of these changes, a new urban 

socioeconomic class with new musical preferences arose among Nigerians. 

 

Okafor (2005) noted that Nigerian music is deeply ingrained in all facets of socio-cultural 

life, transcending social class, ethnicity, geography, religion, language, gender, and sexual 

orientation. As a result, he believes that the connection between music and the average 



 

 
  

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Nigerian is one of the most potent indicators of the essence of his life. Due to the influx 

of many new ideas, cultures, and lifestyles into the nation, the majority of which are 

from Europe, America, Asia, and the Caribbean, contemporary Nigerian society has grown 

so fluid. This causes many of the sociocultural legacies of individuals who are forcibly 

uprooted from their native homes and forced to migrate to metropolitan regions to be 

indirectly shifted, altered, or abandoned. 

 

As Adegbite (2006) puts it, we have entered an era of historical transformation where 

discontinuity prevails over adjustment. This transition currently pervading contemporary 

Nigerian society is seen as a threat to the survival and the continued practice of 

traditional folk music in Nigeria as more and more musical activities in the society tend 

to favour Western popular music. Folk music is now being seen mainly by young people as 

old-fashioned, and archaic which attracts little interest from this age group when 

compared to pop music. The practice of traditional folk music is therefore confined to 

the rural areas and the old folks whose main-stay of livelihood is primarily agriculture 

and livestock practice and who conscript folk music to accompany nearly all their daily 

activities.  

 

Undoubtedly, one of Nigeria's most well-known vocal music composers of this era is 

Kayode Oguntade. His arrangements of folk music in Nigerian languages continue to be a 

standout aspect of his works. Several African composers, like Kayode Oguntade, have 

been actively blending traditional African musical elements with Western styles, such as 

classical, or choral music. This fusion reflects the evolving nature of African music and 

highlights the interplay between traditional and Western musical concepts. As an 

arranger and composer, Kayode Oguntade’s Omo Oba Sokoto is the focus of this article's 

musical analysis, which focuses on his contributions to the growth of art music in Nigeria. 

It also looks at the composer's songs, which were inspired by his ardent desire to 

promote Nigeria's cultural legacy through his folklore arrangements of Omo Oba Sokoto 

from the northern ethnic groups in the nation, thereby fostering a feeling of shared 

identity among the different ethnic region. 

 

Conceptual Framework  

The philosophy of interculturalism serves as the foundation for this study's framework 

to promote cultural dialogue, respect for cultural diversity, fostering inclusivity, 

recognition of power dynamics, and cultural enrichment. This idea involves the fusion of 

components from two or more civilizations, and the musician or composer who creates 

the music typically comes from one of those cultures (Herbst, 2003). The world is a 

limitless cultural environment for musicians of his day, offering a wide range of 

opportunities for cross-cultural composition and performance activities (Omójolà, 2006). 

The use of Nigerian folksongs, treated to European-derived harmonic procedures, is a 

recurring feature of Oguntade's intercultural style. This approach is illustrated in his 

numerous vocal arrangements. The focus of this paper is on the wider stylistic 

perspectives from which he derived his approach to the setting of folksongs. 

 



 

 
  

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In our folkloric practices, the issue of identity has been the subject of numerous 

discussions. While some academics, such as Agawu (2003), Reimer (2003), and Turino 

(2008), believed that folk songs should be given European-derived harmonic and formal 

techniques to form into lengthy compositions, others think that the beauty and 

underlying charm of vernacular forms should be preserved in their natural state. While 

embellishing the songs with European-derived harmonic and formal techniques, Oguntade 

maintained an intermediary approach that preserved the essential stylistic aspects 

connected with the traditional arrangements without diluting the distinctiveness of the 

folk song. 

 

Traditional Folktale as a means of Communication  

Okafor (2005) asserts that music is a form of communication that transmits ideas from 

a source to a receiver before receiving feedback from the source and transmitting them 

back to the source. Songs serve the same purpose as any other kind of speech in the 

traditional African setting. Traditional folktales in Africa, and Nigeria in particular, can 

be summed up as human intent put into action to convey concepts, exhibit culture, 

symbolize events, interact socially, arouse emotion, and perform other related tasks 

(Okafor, 2005). By their appearance and performance, folktale in Nigeria is functional 

and has social commitments. Social commitments by implication are the involvement of 

the society towards achieving goals and development and the defense of its norms, 

values, traditions, and principles.  

 

And because traditional folk music reflects and embodies the experiences of the people, 

it becomes a rallying medium to articulate these social values. Among ethnic groups, 

societies, and cultures in Nigeria, the power of traditional folk music is highly recognised 

and expressed. According to Onyeji (2005), before the advent of formal education and 

the two major religions in Nigeria, children and young adults in the traditional society 

avail themselves of the mass culture of game songs and moonlight tales which are 

recreational in nature, but more importantly which are used to communicate morals values 

of the society to them. The dramatic mode of composing these moonlight songs, game 

songs, and folklores by experts from escapist exploration of land other than that of 

daylight realities, and from the plot structures, especially those of dilemma tales, 

imaginative intention, all serve both corrective and training avenues of the adolescent on 

good behaviour.  

 

Bakare (2019) argues that the prevalence of folktales, popular culture stories, and 

moonlight songs benefit the community not only as a source of entertainment but also, 

and most importantly, as a means of educating young adults about important value 

systems like reverence for authority figures and the dignity of labor. Folktales are widely 

used in Nigeria to teach children about appropriate behavior and the repercussions of 

being a bad person in society. According to Okunade (2002), the folktale tradition is a 

long-standing and significant component of African indigenous culture that is "inherited" 

or passed down orally from generation to generation. Call-and-response patterns, 

polyrhythm, embellished wordless phrases known as vocables, grunts, parallel intervals, 

and repeating rhythmic patterns are characteristics of folk songs. The incorporation of 



 

 
  

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almost all of these elements distinguishes Oguntade's folk song arrangements. 

Significantly, Oguntade's musical compositions, which are intended to recall traditional 

African musical traditions, also prominently feature these aspects. The closeness in how 

African and Western music are related is highlighted by the utilization of the same 

characteristics in the two categories. The biographical account and analysis of Kayode 

Oguntade's vocal arrangement "Omo Oba Sokoto" are explored in the remaining sections 

of this article. 

 

Biographical Information of Kayode Akindele Oguntade  

(Personal communication with Kayode Akindele Oguntade on 14th March 2023) 

Family Background 

Oguntade, Kayode Akindele was born on the 27th of March 1974 to (Deacon Emmanuel 

Adedayo and Deaconess Agnes Olapeju Oguntade) at Ikare Akoko, Ondo State. Kayode 

was the first son of his father’s four girls and three boys. Kayode’s father was a bank 

secretary and his mother was a schoolteacher. His mother was a chorister and her love 

for music prompted her to expose Kayode early to musical activities such as playing the 

percussion instruments (local drums, agogo, and sekere) during choir renditions. 

Formal Education   

In 1979, Kayode attended St James Anglican Primary School, Ugbe Akoko in Ondo State 

while his post-primary education was at St. John Mary’s Unity secondary school, Owo in 

Ondo State. At St John Mary’s secondary school, Kayode was influenced by his school 

principal, who was also his music teacher Mr. S.O. Obagaye to play the piano at the age 

of ten. He was also encouraged by Elder Abiodun Akindikete, the Late Mr. Idowu, and 

Elder Adelabu to play musical instruments and accompany his church choir in Akoko. He 

later attended the University of Nigeria, between 1993 -1999 for his Diploma in Music 

Education and Bachelor of Arts.  

Professional Activities   

Right from his secondary school, Kayode accompanied and taught his school and church 

choirs. After his secondary education, he worked at different places in different 

capacities between 1991 and 1993. He started as a choir director and organist at the 

Christ Apostolic Church, Oke Alaafia, Ikare, and also as an organist in various churches 

around Akoko environs. His outstanding achievement led to his school and church choirs 

winning the 2nd and 3rd position respectively during the 1990 state carol in Ondo State. 

He was also one of the organists who accompanied his choir at the 1989 Webisco 

International Music Concert at the National Art Theatre, Iganmu. Lagos.  At the 

University of Nigeria Nsukka, he worked at different places and in different capacities 

between 1993 and 1999. 

 He was also a visiting organist at St. Stephen’s Cathedral Church, Ikare Akoko.  Kayode 

Oguntade later moved to Lagos where he started working with St George’s Military 

Protestant Church, Apapa, as an Organist and Director of Music. Part of his role was to 

train the choir and instrumentalist in their various musical instruments, such as 

Keyboards, Saxophones, Trumpets, Guitars, and Percussions. He worked with Queens 

College, Sabo Yaba, in Lagos from 1999 – 2002. While at Queens College, He taught Music 

and trained the school’s choir. He directed two musical productions – “Joseph and the 

Amazing Technicolour Dreamcoat” by Andrew Loyd Webber and “A Night in Bethlehem” 



 

 
  

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by Marco Frisina.  He also taught music at Holy Child College from 2001 to 2004, while 

at Holy Child College, he also trained the school choir. His outstanding performance led 

the school choir to win the NNPC/SHELL and AISEN Choral Music Competition 

consecutively. He also directed the musical – “Joseph and the Amazing Technicolour 

Dreamcoat” by Andrew Loyd Webber. He was awarded the Certificate of Outstanding 

Performance for being the most consistent teacher in performance, in 2003 / 2004.  He 

taught Music as a graduate assistant at Lagos State University and was also appointed 

as a piano and voice instructor at the University of Lagos between 2003 and 2005. During 

this period, he taught Harmony, the History of Music, and the Basic Theory of Music.  

He is currently the Director / Head of Music at Grange School, GRA Ikeja. At Grange 

School, he develops and executes most of the training, ensembles, and performances at 

the Primary and Secondary School levels. As a Nigerian Army Chaplain Music Consultant 

/ Director, he organised the Nigerian Army Chaplain Choral Competition nationwide from 

2009 to 2015.  

Musical works of Kayode Oguntade 

Choral 

• ̟̟Ope ye̟ o̟ o B ̀ab ̀a  in SATB 

• Ibukun  in SATB 

• Edom Shall Be Disposed in SATB 

• Praise the Lord in SATB 

• É́́́́́́́́mi Ko̟rin in SATB 

• Fi Ibukun Fun ̀Oluwa in SATB 

• Mura Si ‘Se in SATB 

• ̟Omo̟ to mo̟ ‘ya re loju in SATB 

• Òhun yio si tan Gbo̟gbo̟ Re̟ in SATB 

Instrumental 

• Grange School Song in SAT 

• Guantanamera Arranged for the Grange School Orchestra for a small ensemble 

• Nigeria Mma Mma for Recorder and Strings 

• Onido̟do̟ by Fela Kuti arr. For Grange School Orchestra in SATB 

• O̟mo̟ Pupa by Victor Olaiya arr. For Grange School Orchestra  

 

 Analysis of “O͎mo͎ O͎ba Sokoto” 

‘Ọmo̟ O̟ba Sokoto’ is one of the choral pieces arranged by Kayode Oguntade. It is one of 

the songs used to examine students’ musicianship skills. The folk song on which 

Oguntade’s arrangement of ‘Ọmo Oba Sokoto’ became popular among the Yoruba 

community; is narrated during moonlight storytelling. Oguntade’s arrangement is for 

S.A.T.B. (soprano, alto, tenor, bass), with the flexible piano introduction and bass voice 

solo entry which suggest an interesting episode. The piano introduces the theme that 



 

 
  

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pre-empts the choral melody from bars 5 to 8 which suggests responsorial and canonic 

entries from bars 9 to 12, 13 to 16, and 17 to 20 to construct full four-part harmony.       

Bars (1 to 4), ‘Omo Oba Sokoto’ 

The texture of the piano accompaniment is alternating arpeggios that sustain quavers 

and semiquavers pitches in the right hand, while the bass part of the piano assumes a 

constant rhythmic pattern, which informed the composer’s musical experience. Oguntade 

enacts a responsorial vocal texture from the unison singing to form polyphonic and 

homophonic textures. Below is the concept used as introductory material in the bass 

voice part. 

Thematic feature I 

Bars 5 to 8, excerpts of the bass voice introduction  

Thematic feature II 

 

 Excerpt of the soprano voice part ( ̀O-mo̟-o̟-ba-so-ko-to)  

Melody 

West African folk melodies are usually simple, short, repetitive, and, mostly, modal. In 

‘ ̟O̟mo̟ O̟ba Sokoto’, the first melody appears in bars 5 to 8 where it is vocalised by the 

bass. The tenor voice then takes up a different melodic line from bars 9 to bar 12, the 

alto voice part from bars 13-16, and the soprano voice part from bars 17 -20. The melody 

is characterised by stepwise motion between the intervals of a fifth, sixth, and octave. 

The melodic contour moves upward and downward while the rhythm also alternates 

between long and short notes (semiquavers tied to quavers). A somewhat static but rising 

melody is described by the rising interval of pitch, which appears in a B flat tonality (bars 

4 to 8).  As the folk song on which the composition is based, the dominant thematic 



 

 
  

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material of the piece is based on the diatonic scale. The melody is given to the soprano 

bars 21 and extemporises to bar 36.  

Bars 21 to 30, melody excerpts from (o-mo-o-ba-so-ko-to) 

 

Generally, Oguntade’s treatment of melody in the variations is as follows:   

Bars 37 to 41, (o-mo-o-ba-so-ko-to)  

• In variation one (bars 4 to 8), all four parts are given independent melodies.  

However, the main musical idea that comprises a fragment of the folk song (the 

subtheme) is retained and shared at various times within this section. The bass voice 

starts the dominant musical idea from bars 4 to 8 with other voices forming (S.A.T.B.).  

• In variation two (20 to 36), Oguntade employs a unison entry for each voice and 

shifts the mode to a homophonic texture 

• Variation three (bars 37 to 39) features canonic singing. The alto voice part 

sustains the last note for the soprano, and this continues for the other parts, while the 

different entries of voices harmonies each other to the end.  

The various voice entries create some tension, color, and variety in this section while it 

overlaps and continues until bar 37 which harmonically explores the altered chord F-G-

D-E resolving to F-C-A-F in the key of F major in bar (41).   

The piano accompaniment is diatonically coloured with sequences affirming major 

modality from bars 1 to 48 with a rhythmic pattern in the piano, which is typical of the 

African percussive (melo-rhythmic) effects. 

 

 

 

 

 

 



 

 
  

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Harmony 

The harmony used in the music is a combination of polyphonic and homophonic styles. 

From bar 5, a recurring motif introduces the choral entry in a homophonic texture to bar 

9 which forms a polyphonic harmony. Against the homophonic texture, the unison singing 

and repeated notes from each voice portrayed in contrasting bars (8 -20), introduce new 

musical material. The new section from bars (21-33) occurs as homophonic texture with 

the interval of 3rd, 5th, and 7th, among others, while displaying a stepwise ascending and 

descending harmony. The harmonic interval, here, shows how Oguntade combines 

different kinds of melodic material in writing what seems like a conventional harmony. 

The homophonic arrangements of section B are built on the appearance of the main folk 

tune from bars (21 to 36) which consists of the chorus.  

 

Excerpts from Bar 21, (o-mo-o-ba-so-ko-to) 



 

 
  

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An excerpt from Bars 40 to 48, (O-mo-O-ba-so-ko-to)                                     

To accommodate the repetition of the harmony from bar 37, Oguntade extends the vocal 

lines of the other voices by adding different musical material and moving scale-like from 

dominant to octave in ascending and descending order with the addition of flat and 

natural signs. In addition, all voices move in homophony with the piano accompaniment 

where the piano doubles the vocal part in accompaniment, followed by the first inversion 

of the dominant chord in bar 41, subdominant chord in bar 43, dominant chord in bar 45, 

supertonic chord (minor) in bar 46, second inversion of the tonic followed by a dominant 

chord and resolved to the tonic in bar 48 with an octave. 

Tonality  

Oguntade’s choral piece analysed is written in the Yoruba language. Like many other 

African languages, it is tonal. In a vocal composition, ideas, and meanings are not only 

conveyed by words separately but also by the relationship between them.  In Africa, the 

tonal elements in texts are major signifiers that feature in almost all kinds of music, 

whether it is vocal or instrumental. Talabi (2020), in Euba (2001), notes that ‘If 

traditional music is so highly text-oriented, it is reasonable that texts are crucial to the 



 

 
  

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understanding of music in African societies. Adherence to language principles of choral 

music is quite difficult, even for a composer in command of such spoken language. Yoruba 

intonation works best in musical settings where all voice parts sing in unison or move in 

parallel motion. When there is independent voice leading or harmonisation of melodic 

lines, as is characteristic in Western music of a certain era, undesirable ambiguities could 

result in the text setting (Talabi, 2020). This section examines the extent to which the 

tonal representation of the Yoruba language is retained in the melodic writing of 

Oguntade’s ‘Ọmo Oba Sokoto’. The following text from bar 29 could be misinterpreted as 

‘this is trouble’, whereas the composer’s intention, here, is to say ‘o̟-ro̟-rè-ré́-pé-te’, that 

is ‘this is surprising’.  

 

An excerpt from Bars 29 to 30, (o̟-ro̟-rè-ré́-pé-te’)                                     

Oguntade employs a variety of techniques in his melodic writing of this piece to retain 

the tonal inflection of Yoruba. First is his emphatic use of words, he repeats a word in a 

phrase, where the first appearance of the word is tonally correct (thus avoiding 

subsequent misunderstanding), and the second occurrence may deviate from the correct 

tonal setting. In this way, he creatively emphasises the word and creates a balance 

between meaning, and musical creativity. The notes in 

 bar 21, for example, would have changed the intended meaning of the word ‘o-ló-fò-fò’, 

which in context means ‘the gossip’, to ‘a nonentity’. Second, Oguntade adopted the use 

of speech rhythm to preserve the tonal language in the melody. This contributes to 

establishing certain intended words and their meanings. 

 

    Figure: 5.35, bars 26 to 29 (o-lo-fo-fo).  

 Textual Translation of ‘Omo oba Sokoto 

The song text of ‘Omo oba Sokoto’ and its translation in the English language is provided 

below: 

     



 

 
  

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Text                                                                 Translation 

O̟mo̟ o̟bà Sokoto                                                 The prince of sokoto 

Ki lò fi sè Hausa                                                 What did you do to Hausa 

O̟ro̟ á́́ na t’ajo̟so̟                                                  Our yesterday’s discussion 

Ó́́lo fòfò ti gbe̟ lo̟                                                has been spread by the gossip  

O̟ro̟ re o re̟pe̟te̟                                                    This is surprising! 

 

Artistic Elements in Kayode Oguntade’s O̟mo̟ O̟ba Sokoto  

This section discusses the transformation of traditional folk melodies into Western 

musical formats, particularly within the realm of choral music, and the artistic 

intentions of Kayode Oguntade such as: 

1. Cross-Cultural Musical Adaptation: Scholars have long explored the process of 

adapting traditional melodies into different musical styles. Turino (2008) discusses the 

concept of "collaborative ethnomusicology," emphasizing the importance of cultural 

engagement and collaboration when adapting traditional music into new contexts. This 

collaborative approach acknowledges the cultural significance of the source material 

while embracing the creative possibilities of cross-cultural transformation. 

2. Cultural Synthesis in Choral Music: The synthesis of cultural elements in choral music 

has garnered attention, shedding light on the potential for the harmonious coexistence 

of distinct musical heritages. In his work, Agawu (2003) discusses how choral music can 

serve as a medium for cultural dialogue and exploration, providing a platform for the 

interaction of diverse musical traditions. 

3. Artistic Intentions and Cultural Preservation: The motivations of composers in 

adapting traditional music into Western formats are multifaceted. Nketia (1974) 

emphasizes the role of composers as cultural mediators, responsible for preserving the 

essence of traditional music while presenting it in contemporary musical languages. Such 

intentions reveal a delicate balance between honoring cultural heritage and embracing 

artistic innovation. 

4. Cultural Authenticity and Representation: The concept of authenticity in cross-

cultural musical adaptations remains a topic of discourse. Stokes (1994) addresses the 

challenges of representing non-Western traditions in Western compositions, raising 

questions about the potential for misrepresentation and exoticism. This prompts a 

consideration of ethical and cultural implications when adapting traditional music. 

5. Reception and Impact: The reception of cross-cultural musical adaptations, including 

choral arrangements of traditional melodies, offers insights into the broader 

implications of such creative endeavors. Lawrence and Post (2012) discuss how audience 

perceptions and reactions reflect evolving attitudes toward cross-cultural engagement 

and musical diversity. 

6. Educational Significance: Scholars have recognized the educational value of cross-

cultural musical adaptations in academic settings. Reimer (2003) discusses how such 

arrangements provide students with opportunities to explore the intersections of 

different musical cultures, fostering cultural appreciation and understanding. 

7. Contextualizing Oguntade's Arrangement: While the literature covers a wide range 

of cross-cultural adaptations, specific analyses of Kayode Ogunbade's arrangement of 

"O̟mo̟ O̟ba Sokoto" remain limited. This study contributes to the scholarly discourse by 



 

 
  

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focusing on the transformative journey of this traditional folk melody into a Western 

choral arrangement, delving into Ogunbade's creative choices, artistic intentions, and 

the broader cultural implications of his adaptation 

 

Conclusion 

This study offers a detailed analysis of Kayode Ogunbade's arrangement of the 

traditional folk melody "Omo Oba Sokoto," shedding light on the intricate process of 

adapting a traditional African melody into a Western choral context. Through this 

analysis, the study contributes insights into the specific musical techniques, 

harmonizations, and rhythmic choices that facilitate cross-cultural transformation. It 

enriches the scholarly landscape by offering a detailed case study that navigates the 

complexities of cross-cultural musical adaptation within the realm of choral music, 

providing a nuanced perspective on the creative interplay between traditional folk 

narratives and Western musical idioms.  

 

The journey from the traditional folk tale "Omo Oba Sokoto" to its Western choral 

rendition by Kayode Ogunbade embodies the transformative power of music to transcend 

cultural confines and forge connections between seemingly disparate musical traditions. 

The fusion of these musical realms exemplifies the potential for harmony and cross-

cultural dialogue, underscored by shared melodies and the resonance of artistic 

expression. Through the analysis of Ogunbade's arrangement, we have unveiled the 

delicate balance of preserving the cultural essence of the source material while improving 

the expressive possibilities of the African choral idiom. This investigation has illuminated 

the strategies, techniques, and artistic choices that enable the harmonious coexistence 

of traditional narratives within modern musical frameworks. This supports Onyeji's 

(2005) claim that contemporary Nigerian composers must create research-based 

compositions to strengthen a strong Nigerian identity in their works. Omo Oba Sokoto's 

choral arrangement, which resonates vividly with the musical elements of both Africa 

and the West, is a prime example of the fusion of these two musical genres. 

 

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