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"PRESERVING THE YORUBA APALA MUSIC GENRE THROUGH CHORAL PLATFORMS ON 

THE INTERNET" 

 

ODUSANYA, Oluseun Sunday 

Ajayi Crowther University, Oyo 

Email: seunadeola2226@gmail.com 

234(0)8060132349 

 

 

Abstract  

Apala music holds a special place in the cultural practices of the Yoruba people of Nigeria. Rooted in history and 

tradition, Apala music is timeless, with unique rhythms, music and lyrical stories. As the world goes digital, the 

question of how to preserve this precious heritage in cyberspace arises. Preserving the Yoruba Apala music genre 

in cyberspace is confronted with substantial challenges due to the lack of extensive digital recordings, limited 

online access, and the risk of misrepresentation due to the potential loss of heritage and history. This study 

prescribes the strategies to effectively maintain, protect, reproduce and sustain Apala music culture in cyberspace. 

This article highlights the concept of the Apala music genre of the Yoruba, describes the musical performance 

and the potential of choral platforms for preserving Apala music, discusses the challenges of 

preserving Apala music, and discusses strategies to protect this genre. The methodology for this study is 

qualitative, and data were elicited through observation, oral interviews, biography and other bibliographical 

evidence. The conceptual framework for this study is based on the concept of cultural hybridity and globalisation. 

The paper argues that choral platforms offer a promising way to preserve Apala music in the digital economy. 

However, the paper also acknowledges some challenges associated with using choral platforms. These challenges 

include developing new digital tools for preserving Apala music, training choral conductors to use choral 

platforms, and raising awareness of Apala music among younger generations. The paper concludes by proposing 

some ways choral platforms can be used to preserve Apala music. The study recommends, among others, a 

collaborative effort between choral conductors, musicians, and scholars. 

Keywords: Preservation, Apala, Choral Platform, Cyberspace. 

 

Introduction 
Apala music emerged in the 1930s within Yoruba Muslim communities in Nigeria (Rahman, 2010). Characterised 

by its use of Islamic praise poetry (qasida) set to melodious chanting, drumming patterns, and occasional melodic 

instruments like the hourglass drum (gangan) and the oboe-like make, Apala serves as a vehicle for religious 

expression, storytelling, and social commentary (Babalola, 1986). Apala performances typically feature a lead 

vocalist (qasida reader) backed by a chorus of singers and instrumentalists (Euba, 1990). Thematic elements in 

Apala encompass Islamic topics, including praises for Prophet Muhammad, tributes to Sufi saints, and reflections 

on religious teachings and morality (Peek, 2008). Apala music plays a significant role in Islamic rituals and 

celebrations, particularly during Ramadan and the Islamic New Year (Sallah). Apala music is a traditional musical 

genre of the Yoruba community in Nigeria. It is a unique musical genre of the Yoruba that expresses the cultural 

concepts of her society (Aromire, 1991). Apala music is a unique blend of communication, speech, and 

thought, and it is used for various purposes, including entertainment, storytelling, and propaganda. Often 

accompanied by instruments such as the talking drum, tambourine and Agidigbo, Apala music conveys the 

cultural history and values of the Yoruba people. Oludare (2018) asserts that Àpàlà, an Islam-influenced genre 

uniquely performed by the Yoruba people in Southwest Nigeria, is a significant part of their indigenous musical 

heritage. It is passed down through generations, continually performed, reinterpreted, and promoted by musicians, 

helping to preserve the Yoruba people's cultural history and identity. This is true for other traditional Yoruba 

music as well, which, like the music of other African ethnic groups, plays a vital role in shaping and reinforcing 

identity while also fostering social and spiritual connections among the people. 

 

Agawu (2016: 27) emphasises that music is an intrinsic and defining element of nearly all human societies, 

reflecting its universal role in human culture. In the context of African music, this is particularly significant, as 

the music is primarily traditional and deeply rooted in the cultural practices of various African communities. The 

performance of African music is not just an art form in the conventional sense but also a creative process that 

extends beyond the musical realm. It involves extra-musical elements such as dance, ritual, and storytelling, which 

are integral to the experience. These elements combine to form a holistic practice transcending mere sound, 

encapsulating the community's values, beliefs, and histories. As Agawu suggests, African music is a multifaceted 

art form where music, culture, and performance converge, making it a form of artistic expression and a tool for 

social cohesion, communication, and identity preservation. This dual aspect of African music—musical and extra-

musical—underscores its deep connection to the community's life, where each performance becomes a living 

expression of individual creativity and collective heritage. 

mailto:seunadeola2226@gmail.com


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According to Ossaiga (2015:61), music is a rich tapestry of cultural expression that intertwines sound, movement, 

and visual elements to create a holistic sensory experience. This "trilogy" of sonic, dramatic, and kinetic 

components ensures that music is an auditory delight and a medium of communal participation and enjoyment. 

Music transcends mere sound by engaging the audience and performers, becoming a dynamic art form that unites 

people through shared emotions and cultural narratives. This perspective highlights music's role as a multifaceted 

expression of identity and connection, allowing individuals to connect across time and space through rhythmic 

movement, vocal harmony, and the visual aesthetics of performance. Whether through traditional or contemporary 

forms, music fosters an interactive environment where performers and listeners contribute to the collective 

creation of meaning. In this way, it becomes a cultural force, strengthening community ties, preserving heritage, 

and facilitating emotional expression. Even though the composition is simple but well performed and interpreted 

correctly, the audience reacts on the spur of the moment immediately and spontaneously to Music they consider 

good to them. Such is the experience that evolved while listening to the performing of the Apala musical genre of 

the Yoruba. Despite the current trend in Nigeria by modern-day Àpàlà musicians to modify the genre with 

Western musical instruments, Ayinla Omo Alayan maintains the indigenous Àpàlà instruments in his Music, such 

as Àgídìgbo, ÌyáÌlù, Omele, Àkúbà, Ṣẹk̀ẹ̀rẹ̀, and the Lead and Chorus voices. The instrumentation conforms to 

those found in Abibu Oluwa, Haruna Ishola, and Ayinla Omowura's Music.  

 

The Melo-rhythmic instruments (Ìyá Ilu) serve as melodic accompaniment while also interjecting with good 

surrogates of folksongs and ethical anecdotes at interludes. The other rhythmic instruments play simple ostinatos 

and hocket patterns. Oluwaseyi (2012), quoting Nketia, noted:  

The musical heritage of contemporary Africa is the music associated with traditional African institutions 

of the pre-colonial era. It is Music that has survived the impact of the forces of Western forms of 

acculturation and is, therefore, quite distinct in idiom and orientation from contemporary popular and art 

music (p. 56). 

 

In quoting Nketia (2012), the researcher underscores the resilience of traditional African music in the face of 

Western acculturation. The view suggests that the musical heritage of contemporary Africa is deeply rooted in the 

music of pre-colonial African institutions, which have managed to preserve their distinctive idioms and cultural 

significance despite the influence of colonial and Western musical forms. This form of music is seen as a cultural 

anchor, remaining distinct from contemporary popular and Western art music. The researcher emphasises that this 

preservation of traditional African music is not merely a passive survival but an active resistance to external 

cultural forces, highlighting the continued relevance of indigenous music in the modern African context. This 

view reflects a broader understanding of how traditional African music continues to evolve while maintaining its 

unique identity in the face of globalisation and cultural exchange. 

 

Nketia (2004) further posits that the aesthetics of the Yoruba indigenous choral styles are multifarious, multilateral 

and cosmological. Firstly, the aesthetic principles are not primarily based on beauty or "music for art's sake" but 

on functionality and "music for life's sake". Adedeji (2006) further buttresses that the choral groups must be 

organised according to musical values. Instead, their organisation is based on activities and functions, which are 

considered primary. Some of these functions, which permeate the entire life of the Yoruba, include religion, social 

activities, politics, protests and rites of passage. This does not mean that the Yoruba have no concept of artistic 

beauty. For instance, when they say orin naa dun, it means the song is "sweet" or beautiful; when they say orin 

naa ko dun, it means the opposite. Mo gbadun orin naa means "I enjoyed the music", indicating emotive 

responses. However, preserving the Music and cultural values of the Apala music faces challenges today. The 

possibilities of utilising the online choir platform to support and maintain Apala music—the preservation of 

traditional Yoruba drumming—in the Yoruba community and beyond are examined in this article.  

 

The influence of media technology on the development of traditional Yoruba drumming has been discussed in 

previous studies (Adedokun, 2023, Oral Interview). Social media platforms, one of the transmission agents in the 

global village, can help stimulate local drumming and make it accessible globally. Using choral platforms in 

cyberspace, Apala music can be preserved and shared outside traditional venues, thereby gaining its importance 

and appreciation. Apala is a traditional Yoruba music genre that originated in Nigeria during the colonial era. It 

is characterised by its slow tempo, heavy use of percussion, and socially conscious lyrics. Apala music has 

declined in popularity in recent years due to the rise of other genres, such as hip-hop and Afrobeat. One way to 

preserve Apala music is to use choral platforms in cyberspace. Choral platforms allow people to sing together 

online, regardless of their location. This can create a sense of community around Apala music and encourage new 

musicians to learn and perform it. However, there are challenges to using choral platforms to 

preserve Apala music. One challenge is that Apala music is often performed in a call-and-response style, which 

can be difficult to replicate online. Another challenge is that Apala music is often accompanied by traditional 



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Yoruba instruments, which may only be available to some who want to sing it online. Despite these challenges, 

choral platforms can be valuable for preserving Apala music. By providing a way for people to connect and learn 

about the genre, choral platforms can help to keep Apala music alive in the digital age. 

 

Concept of Apala Music of the Yoruba 
Nigerian popular or apala Music started in Lagos in the 1950s. It is distinguished by using a talking drum and 

lyrics that frequently deal with satire and social criticism. Apala music has been vital to the development of 

Nigerian Music and is integral to Nigerian culture. However, the genre faces many challenges, including the 

decline of traditional Apala music performances, the need for more interest in Apala music among younger 

generations, and the challenges of using digital technology to preserve Apala music. In an interview, Olabisi 

(2023) submitted that a small group of musicians typically perform Apala music, often in informal settings. The 

talking drum is the most essential instrument in Apala music, and it is used to set the rhythm and provide the 

melody. The banjo and the guitar are also used to add harmony and texture. The lyrics of Apala songs often deal 

with social commentary and satire. Apala musicians often use their Music to criticise social ills, such as corruption 

and injustice. They also use their Music to celebrate the lives of ordinary people. Apala music is a vibrant and 

dynamic genre that has played an essential role in the advancements of Nigerian Music. The genre faces several 

challenges but is also being adapted to new forms and styles. This suggests that Apala music will remain essential 

to Nigerian culture for many years. Apala music is an integral part of Nigerian culture and has played a critical 

positive role in developing Nigerian Music. Apala music can help us understand the history and culture of Nigeria, 

and it can also help us appreciate the diversity of Nigerian society. As a vibrant and dynamic genre, Apala music 

has been adapting to new forms and styles for many years and continues to evolve. This suggests that Music is a 

living tradition relevant to people's lives today. Apala music is a source of enjoyment and entertainment. Ogunleye 

(2023), in an interview, also reports:   

Apala music is a fun and exciting genre that people of all ages can enjoy. It can be a great way to de-

stress and relax, and it can also be a great way to celebrate special occasions. Apala music is a source of 

identity and pride. Apala music is an integral part of the identity of many Nigerians, and it can be a source 

of pride for the country. It can help unite people from different backgrounds, and it can also help promote 

Nigerian culture to the world. Apala music is integral to Nigerian culture and worth preserving for many 

reasons. (Ogunleye, 2023, Oral Interview).       

 

The report of Ogunleye (2023) corroborates Olabisi's view, highlighting the cultural and social significance of 

Apala music, emphasising its role as both a source of entertainment and a unifying force in Nigeria. Described as 

a fun and relaxing genre suitable for all ages, Apala music offers a means to de-stress and celebrate special 

occasions while fostering a sense of identity and pride. Ogunleye underscores its importance in representing 

Nigerian culture, uniting diverse communities, and promoting the nation’s heritage globally. Consequently, 

preserving Apala music is essential to maintaining and celebrating Nigeria’s rich cultural legacy. It is, therefore, 

imperative to ensure that this unique and vibrant genre (Apala music) continues to be enjoyed by people for many 

years through digital preservation. 

 

Conceptual Framework 
The conceptual framework for this research is grounded in the interplay between cultural hybridity and 

globalisation, two pivotal concepts that elucidate the dynamic cultural transformations occurring in the 

contemporary world. As Kraidy (2006) articulated, cultural hybridity emerges as a conceptual inevitability in the 

face of global cultural exchanges. Kraidy’s theory of inter-contextual hybridity integrates the dynamics of 

hybridity with hegemonic influences, proposing a robust theoretical basis for understanding critical cultural 

transnationalism. This theory underscores the intricate power relations that shape cultural synthesis, highlighting 

how dominant global cultures and local traditions interact, resist, and merge to create innovative cultural 

expressions. 

 

Hybridity transcends the blending of cultural elements, representing a process where disparate cultural practices 

and forms combine to produce entirely new cultural constructs. This framework offers a lens through which to 

examine how traditional and modern elements interact within specific cultural contexts, often under the influence 

of globalisation. Globalisation accelerates cultural flows, fostering interactions that reshape traditional practices 

and infuse them with contemporary, global influences. 

 

In the context of Apala music, cultural hybridity manifests as a fusion of traditional Apala techniques, deeply 

rooted in Yoruba cultural heritage, with the innovative possibilities afforded by modern digital technologies. 

Apala, traditionally characterised by its use of talking drums, sekere, and indigenous rhythms, has historically 

served as a medium of cultural storytelling, spiritual expression, and communal identity. However, the genre is 

undergoing significant transformation in the era of globalisation and digital innovation. 



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Digital techniques, including electronic beats, digital sound processing, and global distribution platforms, reshape 

Apala music's form and reach. This process modernises its sound and extends its appeal to a broader, more diverse 

audience. By blending traditional Apala's rhythmic patterns, tonalities, and themes with contemporary production 

methods and international musical influences, artists create a hybrid cultural product that resonates with local and 

global audiences. Thus, this research situates Apala music as a case study within the broader framework of cultural 

hybridity, demonstrating how local traditions evolve and sustain themselves in the face of globalisation. By 

exploring this fusion, the study contributes to a deeper understanding of how cultural heritage can adapt and thrive 

in a rapidly changing global cultural landscape. 

 

Methodology 
This study uses a qualitative research approach to examine how the Apala music genre of the Yoruba people is 

preserved through choral platforms in cyberspace. The researcher employed interviews and observations to collect 

data. Key informants, including musicians, digital music producers, and cultural historians, were interviewed 

about the integration of digital technology in preserving Apala music. These interviews focused on the methods 

and tools used to adapt the music for digital platforms, the challenges faced, and the potential benefits of 

cyberspace in sustaining the genre. 

 

The researcher also observed live and recorded Apala performances, both traditional and digital, to understand 

how the music's structural and stylistic elements are preserved or altered in cyberspace. These observations 

highlighted the role of choral arrangements in broadening the genre's appeal. The collected data was analysed 

thematically, identifying trends, challenges, and opportunities for preserving Apala music. The analysis also 

explored how digital platforms can bridge traditional and contemporary music practices and serve as a cultural 

archive to promote the global recognition of Yoruba music. 

 

The Musical performance of Apala music in Yoruba Land 
The performance of Apala music in Yoruba serves primarily as entertainment while also reflecting the cultural 

activities and values of the people. It is an indigenous genre of music that plays a crucial role in religious worship 

and various social events, symbolising the Yoruba people's cultural identity and way of life. It helps to instil moral 

values and preserve historical narratives (Waterman, 1990). The Yoruba music tradition includes genres such as 

Àgídìgbo, Àwúrèbe, Wéré, Àdàmò, Ìjálá, Orin arò, Gùmbe, and Kókómà. Over time, these genres evolved into 

neo-traditional forms, influenced by Arabic and European cultures (Vidal, 2012). New forms of music, including 

Àpàlà, Sákárà, Wákà, Fújì, Jùjú, and Highlife, emerged, maintaining and passing down the core musical and 

performance practices from one generation to the next (Omojola, 2012). 

 

Apala music, alongside Sákárà, Wákà, and Fújì, is a genre influenced by Islam, making it a neo-traditional style 

within the Yoruba community of Southwest Nigeria (Omibiyi, 1979). Omolaye (2014:38) categorised Christian-

influenced music as Juju and Highlife, while Islamic influences shaped genres such as Àpàlà, Sákárà, Wákà, 

Bàalúù, Sélí, Dàadà kuàdà, Àdàmò, and Fújì. Originally, Apala was a traditional, Islam-influenced genre that has 

since evolved into a more modernised and commercial form to celebrate various occasions such as naming 

ceremonies, weddings, birthdays, and funerals. 

 

Many scholars have extensively studied Apala music and its influential musicians. Key scholars such as 1 

Mustapha (1975), Waterman (1990), Ajirire and Alabi (1992), Olusoji (2008), Ajetunmobi et al. (2009), Omojola 

(2012), Lasisi (2012), Vidal (2012), and Ajetunmobi and Adepoju (2013) have delved into the genre's origins and 

the figures who shaped its development. Prominent musicians associated with Apala include Muraina, Alao, Ayan, 

Ligali Mukaiba, Ajadi Ilorin, Adisa Aniyameta, Raimi Dogo, Lasisi Layemi, Aminu Olaribigbe, Lasisi Onipede, 

Kasunmu Adio, Raji Owonikoko, Haruna Ishola, and Ayinla Omowura. Notably, Haruna Ishola and Ayinla 

Omowura are recognised as the iconic figures of Apala music. However, the name Ayinla Omo Alayan is rarely 

mentioned in the literature, possibly due to his lack of commercial album releases, which limited his market 

exposure and media presence. Despite this, Ayinla is highly regarded within the indigenous Yoruba community, 

revered like Ishola and Omowura for his genuine Apala music. 

 

The typical structure used in most indigenous Yoruba music, including Apala, is the call-and-response form. In 

this structure, the lead voice initiates a song, and the accompanying voices respond, similar to the Western "solo 

and tutti" format, with the music performed in either a strophic or through-composed form. 

Omolaye (2014:48) highlighted the distinct musical instruments used in Apala performances, which set it apart 

from other Islamized music genres. The instruments include the dùndún ensemble, composed of the Iya-ilu 

(mother drum), gangan, keríkerì, Omeleako (male drum), Omele abo (female drum), and akúbà. The gúdúgúdú 

drum is typically excluded from the ensemble in Apala music, making it unique. The dùndún ensemble, featuring 

drums with parchment heads, dominates Apala performances. 



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Plate 1.  Diagram of musical instrument engaged in the accompaniments of Apala Music Performance 

 

The instrumentation and performance techniques of Àpàlà music are distinctive, with vocal forms that include 

solo, call-and-response, and chorused refrain patterns. In a typical Àpàlà performance, the hierarchy of musical 

instruments is as follows: 

i) Gángan: Lead talking drum, a double membrane drum 

ii) Àdàmò: Backup talking drum, also a double membrane drum 

iii) OmeleAko: Double membrane drum 

iv) OmeleAbo: Double membrane drum 

v) Àgbámólè: Single membrane drum 

vi) Àkúbà 

vii) Àgídígbo: Slit drum or thumb piano 

viii) Sèkèrè: Gourd rattle (calabash played with the ring finger) 

ix) Five backup singers 

 

Omolaye (2014) noted that contemporary Àpàlà musicians, such as Musiliu Ishola and Olabode Davies, have 

moved away from traditional styles, incorporating Western choral and harmonic influences instead. In contrast, 

Ayinla Omo Alayan has stayed true to the original call-and-response structure in his music, preserving the 

authenticity of Àpàlà. While the inclusion of Western melodic and harmonic elements, along with the use of 

English, has diluted the originality in Ishola and Davies’ music, Alayan's work maintains the traditional core of 

the genre.  

 

A closer examination of Ayinla Omo Alayan's lyrics reveals his commitment to preserving the tonal nuances of 

the Yoruba language. In Yoruba music, the speech melody follows three phonemic tones—Low (L), Mid (M), 

and High (H)—which are essential for conveying the correct meaning of words. Ayinla’s adherence to these tonal 

patterns ensures that the meaning of his lyrics remains accurate and that the Yoruba language is both 

understandable and preserved in his music. 

 

Preservative Methods of Apala Music 
Oral Tradition: Apala music has traditionally been transmitted through oral tradition, where songs, lyrics, and 

performance techniques are memorised and shared from one generation to the next. This method ensures that the 

essence and authenticity of the music are preserved, maintaining its connection to its cultural roots. Oral 

transmission fosters personal interaction and mentorship between older and younger generations, enriching the 

learning process with contextual and historical nuances that cannot be fully captured through written records. 

Live Performances: Live performances are crucial in preserving and promoting Apala music. Concerts, cultural 

events, and festivals offer a platform for musicians to showcase the genre's vibrancy in its authentic form. These 

events create an immersive experience where audiences can engage with the music's rhythm, instruments, and 

storytelling elements. Additionally, live performances inspire aspiring musicians, allowing them to observe, learn, 

and eventually contribute to the continuation of Apala music traditions. 

Recordings: The recording and release of Apala music in formats like albums, singles, and compilations have 

made the genre more accessible to a broader audience. These recordings allow people to enjoy Apala music in 

their time and space and serve as a critical archival resource. Collecting lyrics, documenting sheet music, and 

analysing the musical techniques in recorded pieces contribute to preserving the genre for academic study and 

future generations. Recordings ensure that the original compositions remain available for reference and enjoyment 

even as oral traditions evolve. 

Education: Introducing Apala music into educational curricula at schools, colleges, and cultural institutions helps 

broaden understanding and appreciation of the genre. Structured programs can explore Apala's historical, cultural, 

and technical aspects, offering a deeper insight into its significance within Nigerian heritage. Workshops and 

lectures can engage students in interactive learning, teaching them to play traditional instruments, interpret lyrics, 



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and understand the genre’s distinctive rhythms and themes. Integrating Apala music into formal education, its 

legacy is preserved and revitalised, fostering a new generation of enthusiasts and practitioners. 

Digital platforms: Digital platforms like YouTube and SoundCloud provide innovative avenues for sharing and 

preserving Apala music, making it accessible to a global audience. These platforms enable the creation of 

engaging content, such as online Apala music festivals, competitions, and interactive learning tools. To 

substantiate this approach, online resources could include tutorials on Apala's history, lyrics, and distinctive 

musical styles, fostering cultural appreciation and education. Additionally, digital platforms can support the 

creation of simplified choral arrangements of Apala songs to encourage community participation. Furthermore, 

virtual access to traditional Yoruba instruments, such as the talking drum and agogo, can bridge geographical 

gaps, allowing enthusiasts worldwide to learn and appreciate the unique sounds of Apala. By integrating these 

strategies, digital platforms can serve as powerful tools for sustaining and evolving the legacy of Apala music in 

the digital age. 

 

Opportunities in Cyberspace  
The Apala musical genre holds a special place within the rich cultural tapestry of the Yoruba people of Nigeria 

(Aromire, 1991). Rooted in history and tradition, Apala music has endured the test of time with its distinct 

rhythms, melodies, and lyrical storytelling. As the world becomes increasingly digital, How can this treasured 

cultural heritage be preserved in cyberspace? In this article, we delve into the significance of the Apala musical 

genre, explore the challenges and opportunities of preserving it online, and discuss strategies for its continued 

conservation. The digital age presents challenges but also unprecedented opportunities to preserve Apala music. 

The Internet provides a global platform to showcase and share this cultural gem (Olaniyan, 2004). The online 

platform allows enthusiasts and researchers to collaborate, share resources, and discuss Apala music's history, 

meaning, and technology. Videos, audio recordings and written documents can be easily stored and accessed by 

people worldwide. Privacy Policy. Digital Archive and Repository: Establish an online archive of biographies, 

photos, interviews, and written material related to Apala music. Become a volunteer and help researchers, 

musicians, and enthusiasts.  

 

Educational Initiatives and Development of New Digital Tools for Preserving of A.M 
There is a need for the development of new digital tools to preserve Apala music. These tools should be easy to 

use, affordable, and designed to preserve traditional techniques. This can be achieved through Apala Music's 

online courses, workshops, and educational developments that teach people the skills to play and enjoy this 

musical genre. Engaging social media platforms like YouTube, Instagram and TikTok to share short videos, 

performances and information can also engage younger audiences and increase interest in Apala music 

(Adedokun, 2023, Oral Interview). 

 

Collaboration  
A collaborative effort between Apala artists, choral conductors, and scholars can now help bridge generational 

gaps and bring the genre together. Contents Preserving the Yoruba Apala music genre in cyberspace is a collective 

effort that requires the integration of digital initiatives, education, and the sharing of Apala music, its rich history, 

and valuable assets that must be preserved for future generations. By leveraging the power of the Internet, we can 

ensure that this ancient art continues to evolve in today's music world. Musicians can experiment with new musical 

styles and create new Apala music compositions. Scholars can research the history and techniques of Apala music 

and create educational resources about this genre. The preservation of Apala music requires a collaborative effort, 

thus serving as a platform to promote Apala music and to encourage people to listen to and support this genre.  

 

Recruiting and Retaining Male Singers 
Recruiting and retaining male singers is a long-standing challenge in choral music, primarily due to a noticeable 

gender imbalance. Elpus (2014) identifies this as a pervasive issue in music education, where women dominate 

participation and teaching roles. This gender disparity is not limited to any specific genre but reflects a broader 

trend in the field, raising important questions about the barriers preventing male engagement. A lack of male 

participation in choral music may stem from social perceptions, limited role models, and a curriculum that often 

fails to resonate with male interests and experiences. Addressing this issue requires innovative strategies to make 

choral music more appealing to men. Targeted recruitment campaigns emphasising the unique value of male 

voices in choral ensembles can help break down stereotypes. Mentorship programs led by experienced male 

singers can provide role models and foster a supportive environment for aspiring male participants. Additionally, 

incorporating a diverse repertoire that aligns with the interests of male singers can enhance engagement, offering 

musical experiences that resonate on a personal level. 

 

Traditional music, such as Apala, can also play a role in addressing this challenge. Apala music, deeply rooted in 

Yoruba cosmology, provides a cultural and historical connection that can attract a broader audience, including 



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men. As Alayande (2021) highlights, traditional music is a repository of cultural values, offering insights into 

identity and heritage. Integrating Apala into choral programs preserves this rich tradition and creates an avenue 

for engaging male singers who might be drawn to its authenticity and cultural significance. Moreover, modern 

digital platforms, such as the Cyber Choir, present an innovative solution to address gender disparities and broader 

challenges in choral education. Freer (2006) criticises traditional choral teaching methods for overlooking the 

unique experiences of boys, leading to low participation rates. Cyber platforms can bridge this gap by amplifying 

youth voices and creating interactive and inclusive spaces integrating diverse perspectives. These platforms allow 

male singers, especially younger ones, to share their stories, connect with peers, and access various musical 

resources engagingly. By leveraging these strategies—targeted recruitment, mentorship, culturally rich traditional 

music, and innovative digital platforms—choral music education can evolve into a more inclusive and dynamic 

space. These efforts not only address the gender imbalance but also ensure the preservation of cultural heritage 

while meeting the diverse needs of participants. This holistic approach fosters a vibrant and sustainable future for 

choral music, where male singers feel valued and inspired to contribute. 

 

The Challenges of Preserving Apala Music 
Preserving Apala music in the digital age comes with its own set of challenges. Oral traditions have been a primary 

medium for transmitting this musical heritage. As the older generation of musicians and storytellers pass away, 

there is a risk of losing authentic renditions and intricate nuances that define Apala music. Despite its lengthy 

history and cultural relevance, Apala music still confronts challenges in the twenty-first century. The transmission 

of Apala to newer generations is challenged by the impact of Western pop culture and the predominance of secular 

media (Abdulraheem, 2017). The traditional methods of learning Apala, often through oral transmission within 

family lineages or through informal apprenticeships with established musicians, are becoming less prevalent due 

to urbanisation and changing social dynamics (Sodeinde, 2019). 

Furthermore, the economic realities of professional Apala musicians can be precarious. Performances are often 

limited to religious ceremonies and social gatherings, making it difficult for Apala artists to earn a sustainable 

living (Tijani, 2016). This lack of financial viability discourages younger generations from pursuing Apala music 

as a career path. 

Additionally, the influence of modern music trends may overshadow traditional genres, making it harder for Apala 

to find a place in the contemporary music scene. However, the number of traditional Apala music performances 

has declined in recent years due to several factors, including the increasing popularity of other genres of music, 

the lack of opportunities for traditional Apala musicians to perform, and the death of many 

leading Apala musicians possess a challenge to the preservation of the Apala genre of the Yoruba. 

Furthermore, younger generations need to develop an interest in Apala music. Apala music is a traditional genre 

that needs to be updated by some younger people. Additionally, Apala music is often performed in the Yoruba 

language, making it inaccessible to people who do not speak Yoruba. The challenges of using digital technology 

to preserve Apala music is another area of concern in preserving the genre.  

 

● The lack of interest in Apala music among younger generations: Apala music is a traditional genre of 

music, and it can be seen as needing to be updated by some younger people. Additionally, Apala music 

is often performed in the Yoruba language, making it inaccessible to people who do not speak Yoruba. 

● The challenges of using digital technology to preserve Apala music: Digital technology can be used to 

preserve Apala music in several ways, such as by recording and distributing Apala music performances 

and by creating educational resources about Apala music. However, some challenges are associated with 

using digital technology to preserve Apala music. For example, digital technology can be expensive and 

challenging to learn how to use it. Additionally, using digital technology can sometimes lead to the loss 

of traditional Apala techniques. 

● Oral tradition (Orature) is the vehicle for transmitting this musical heritage. With older generations of 

musicians and storytellers, Apala music's original interpretations and complex nuances will be lost. In 

addition, the influence of modern music can destroy the traditional system, making it difficult 

for Apala to take a place in modern music. However, the decline of traditional Apala music performances 

of the genre calls for immediate rescue from obscurity.  

 

The Potential of Choral Platforms for Preserving Apala Music 
Choral platforms offer a promising solution for safeguarding Apala music in the digital age. These platforms, 

online communities, social media groups, or dedicated websites provide a space for Apala enthusiasts to connect, 

share knowledge, and collaborate on performances. Choral platforms can facilitate the digital documentation of 

Apala music. Recordings of performances, instructional videos, and historical information about Apala traditions 

can be archived and shared online, creating a valuable resource for future generations (Alabi, 2018). This digital 

repository can ensure the accessibility of Apala music beyond geographical limitations and promote its wider 

appreciation. 



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Innovation and audience engagement: Choral platforms can be a breeding ground for innovation in Apala 

music. By incorporating new technologies and creative approaches to composition and arrangement, choral groups 

can broaden the appeal of Apala music to contemporary audiences. Social media engagement strategies can raise 

awareness about Apala music and attract new listeners. Olabisi, A. (2023, Oral interview), an Apala gospel 

musician, also observed that choral platforms could experiment with new musical styles, such as by 

combining Apala music with other genres of music. This can help to revitalise Apala music and make it more 

accessible to a broader audience.  

Collaborative learning and performance: Choral platforms can foster collaboration among Apala musicians of 

different ages and backgrounds. Experienced performers can mentor younger generations, ensuring the 

transmission of Apala techniques and knowledge. Online forums and virtual performance spaces can enable 

geographically dispersed Apala artists to connect and create music. Ogunleye (2023, Oral Interview) also noted 

that choral platforms can be used to create educational resources about Apala music, such as videos and articles 

about the history of Apala music, the techniques of Apala music, and the lyrics of Apala songs. This can teach 

people about Apala music and encourage them to learn more about this genre.  

Monetisation and sustainability: Choral platforms can explore avenues for monetisation to support Apala 

musicians. Online performances with virtual ticketing systems, merchandise sales, and crowdfunding campaigns 

can generate revenue to sustain Apala artists and encourage continued engagement with the tradition. Adedokun 

(2023, Oral Interview) also buttresses that choral platforms can reach a wider audience. He further submits that 

using the choral platforms, Apala music performances can be distributed to a broader audience, including people 

who live in remote areas or do not have access to traditional Apala music performances. Choral platforms like 

YouTube and SoundCloud can distribute Apala music performances to a broader audience. This can raise 

awareness of Apala music and encourage people to listen to and support this genre. 

 

Conclusion 
Apala music, a dynamic and centuries-old tradition rooted in the Islamic devotional practices of Yoruba culture, 

faces significant challenges in adapting to the modern era. Globalisation and the dominance of secular media have 

contributed to a decline in its prominence and preservation. Moreover, the rise of digital technology and 

cyberspace has profoundly influenced the performance techniques of Apala music, presenting both opportunities 

and obstacles. As online spaces for creating, sharing, and experiencing music, choral platforms hold promise for 

preserving and revitalising Apala music. These platforms can expand Apala's reach to global audiences, provide 

avenues for experimenting with innovative musical styles, and serve as educational tools to engage younger 

generations. By leveraging these digital platforms, Apala Music can maintain its relevance and adapt to 

contemporary tastes while preserving its rich heritage. 

 

The study explores this potential by outlining the history and challenges of Apala music and then examining how 

choral platforms could function as preservation instruments. While these platforms present exciting opportunities, 

challenges such as developing specialised digital tools, training conductors in digital music facilitation, and raising 

awareness among the youth about Apala music must be addressed. To substantiate this approach, future studies 

can focus on case studies of successful cultural preservation through digital platforms, experimental collaborations 

between traditional Apala musicians and digital innovators, and surveys assessing young audiences' reception of 

Apala music on choral platforms. Ultimately, harnessing the potential of choral platforms can lead to a broader 

audience, new creative expressions, and robust educational initiatives, ensuring Apala music's continued relevance 

and vitality in the digital age. 

 

Recommendations 
The study recommends collaborating with choral conductors, musicians, and scholars. Preserving Apala music 

requires collaboration between choral conductors, musicians, and scholars. Choral conductors can use their 

platforms to promote Apala music and encourage people to listen to and support it. Musicians can experiment 

with new musical styles and create new Apala music compositions. Scholars can research the history and 

techniques of Apala music and create educational resources about this genre. It also recommends developing new 

digital tools for preserving Apala music: There is a need to develop new digital tools for preserving Apala music. 

These tools should be easy to use, affordable, and designed to preserve traditional techniques. 

 

Oral Interview  

Olabisi, O. (Apala Gospel musician, Ogbomoso), August 15, 2023. 

Adedokun, A. (ICT, Manager, The Nigerian Baptist Theological Seminary, Ogbomoso), August 08, 2023 

Ogunleye, A. (Music Minister, Surulere Baptist Church, Lagos), August 13, 2023. 

 

 

 



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