Interrogating the nuances of West African melodies: cadential conventions in Ogu songs

Abstract

Whereas writings on African melodies have addressed their structures, shapes and forms, the way characteristic traits such as cadential practices aid to nuance the musics of different ethnolinguistic groups remains largely undocumented. Relying on Ogu songs, this article argues that there are group-specific stylistic practices that nuance the melodies of West African peoples. It examines ten songs selected from bands in Badagry (Lagos State, Nigeria), in the public domain, and the work of two iconic Ogu musicians from the Republic of Benin. The analyses reveal that Ogu melodies often display two important focal tones that share different aspects of ‘tonic function’ between them: an important tonal centre, and the primary resting note which assumes the status of a concluding tone at cadences. This and other stylistic characteristics and conventions could signal Ogu sensibilities in songs. These findings engage and extend previous descriptions of West African melodies by Kubik (1968), Ekwueme (1980), Kwami (1992) and Agawu (2016). The article concludes that there is a need to devote attention to the specifics of all musical practices in Africa, since artistic nuances on the continent could be glossed over when focusing only on regionally dominant practices.