This thesis attempts an intervention in popular music classification. It argues that popular musicians do not only choose the titles to their works, but go further to define the genres of these works. The dynamic at play is such that most popular musicians claim to produce works of different and new genres with each new work they create. By engaging with the works of a selection of Nigerian popular musicians, the thesis demonstrates that the disorderliness in popular music branding can be restricted. Through a critical discourse analysis of the textual elements of the material and of ‘alternative’ audience contributions, the thesis advocates a new genre of popular music, namely the genre of ‘political music’. This distinctive genre is extractable from the otherwise conventional genres of popular music, and is composed of three comprehensible subgenres namely protest political music, unity political music and terrestrial praise political music. The study’s selection is made of popular music material from hip hop, reggae, afro-beat, and juju genres. They are delivered in popular Nigerian languages ranging between Yoruba, Hausa, Igbo, English and Pidgin English.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:687574 |
| Date | January 2016 |
| Creators | Osiebe, Garhe Victor |
| Publisher | University of Birmingham |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://etheses.bham.ac.uk//id/eprint/6812/ |
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