Textual and contextual analysis of select reconstructed Yoruba indigenous songs The use of gospel choruses and native airs in different Yoruba dialects are common features during special worship occasions in the mainline churches. In Yoruba tradition, music was exclusively used for religious and cultural events, festivals, rituals, and as work songs for different traditional occupations. Sometimes, the same phrase or sentence that was sung by the leader is sometimes repeated with little variations by the chorus section. It revealed continuity and changes in the songs adapted from various dialectical communities of Yoruba to suit contemporary relevance in Christian worship. Indigenous Yoruba songs usually identify the celebrant with their dialectical roots. Indigenous knowledge system has continued to play dominant roles in the development of Yoruba musical expressions in Christian worship. 
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In Christian worship, when the word Oba is used to denote God, the superlative functional attribute of God is usually intended. Introduction The term reconstruction relates to a process in which an event or series of events is carefully examined in ayefelr to find out or show exactly what happened.
The belief also sometimes leads them to appease the divinities to avert disaster and misfortunes. The lead vocal sometimes vary the call with the appropriate text and melody that can convey his mood and the need of the singers in a particular context.
These include emphasis on the use of rhythm, dependence on melody, call and response pattern and heterophony. The analyses of songs collected from field investigation revealed that most reconstructed Yoruba songs used for Christian worship derive strength from Yoruba indigenous knowledge system syefele are characterised by common structural components, such as the use of rhythm, dependence on melody, call and response pattern and heterophony.
The song Egba Ile does not only present the melodic pattern of a Yoruba traditional song but also illustrates the history of the emergence of Christianity in Yorubaland, Nigeria.
In Christian worship however, same expressions ylruba faith in the protective powers of God are expressed.
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Some Characteristics commonly found in reconstructed Yoruba songs Some musical characteristics commonly found in indigenous Yoruba songs reconstructed for Christian worship include the following: This song, now reconstructed for use in Christian worship is a praise song that acknowledges the faithfulness of God. Me a mu sun kun me me igho I will not use it to cry Me a mu sun kun lie me igho I will not use it to cry Oju wo mu wo mo mi a mu sun kun The eye I use to look after my child Me a mu sun kun me me igho I will not use to cry.
Indigenous Yoruba songs usually identify the celebrant with their dialectical roots. To a Yoruba, the word denotes the Almightiness of God, as having very great power, influence, and irresistible dominion. It became a public domain in Christian gospel music contexts when Yinka Ayefele, a popular Yoruba gospel ayefrle, adapted it for Christian context, with variations and extemporization both vocally and instrumentally.
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Yoruba Beliefs and Sacrificial Rites, Lagos: In Yoruba traditional religious contexts, Idowu noted that music may be quiet, loud, or noisy, depending on the kind of worship and its role within context of worship. Yoruba Meaning in English: An analysis of Yoruba tradition. Music in Nigerian Society, Enugu: It usually forms the basis for decision making at local levels and facilitates communication especially in rural communities.
Reconstruction of Yoruba Indigenous Songs for Christian worship contexts. Some examples of songs of praise in Egba dialect, commonly found in most churches are highlighted in musical examples 1, 2, 3, 4, and 5: Yorruba example, as a prayer, the mood of the song in Example 10 suggests a reflective mood which usually characterizes and typifies worship mood during Christian religious gatherings.
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Indigenous knowledge system has continued to play dominant roles in the development of Yoruba musical expressions in Christian worship. Most indigenous Yoruba songs that were previously used in traditional religious and social settings have been adapted appropriately to fit into contemporary Christian worship. In Yoruba tradition, twin children are believed to be special, and as such should be treated with great respect and deference.
Me a Mu Sunkun: It revealed continuity and changes in the songs adapted from various dialectical communities of Yoruba to suit contemporary relevance in Christian worship.
Omojola has noted that: A History of Nigeria London: The song in Example 3, like most Yoruba traditional song is often accompanied with drumming, dancing and various activities that characterise a typical traditional festival among the people.
Scriptions of the Choral: Some are used to accompany human activities, while some are just to provide entertainment to the people. These musical characteristics from the indigenous music background are now lie in music used Christian contexts. These songs also disclose peculiar characteristics and ethical values common to each Yoruba community.
Most songs from Ondo, Ilaje yorub Owo areas often use slurs and pitch glides on syllables.
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