London and Provincial Music

Archive for the ‘London Music Events’ Category

If you are looking for what to do this weekend in London, look no further. woZZon.com has the answers for you.

We’ve got the hottest selections for what’s on in London and across the UK.

Our editors select the top 6 events in London every week. It includes a mix of leisure categories such as film, theatre, art, comedy, festivals, children’s events and more.

So, what’s on in London this week?

In Film: The movie Africa United is the featured movie of the week. The movie tells the extraordinary story of three Rwandan children on an epic adventure to achieve their dreams of taking part in the opening ceremony of the FIFA World Cup in Johannesburg. If you are looking for other movies in London, search on woZZon.

In Art: Veolia Environment Wildlife Photographer of the Year 2010 at the Natural History Museum from 22nd October 2010. You have the chance to see this year’s highly praised images at the stunning gallery.

There are more than 100 prize-winning photographs on display.

As a special event: Diwali at Trafalgar Square in London. It will be a day for the whole family to enjoy. The square will be transformed with magical light displays, music and dance performances. Diwali on the Square is completely free to attend on 31st October 2010.

There are lots of other great events in London this Halloween so check what’s on near you.

In comedy: Bill Bailey: Dandelion Mind. He is back with his ‘Dandelion Mind’ tour, after the success of ‘Tinselworm’ in 2008. This is a must-see performance at Wyndham’s Theatre from 2nd November 2010.

In theatre: Hamlet at the National Theatre: Olivier Theatre. It’s on from 15th October 2010 and the demand for tickets has been high. So, enjoy the show if you can get a ticket, but don’t believe the hype – it’ll only detract from your appreciation of a strong production.

In Music: Alice Cooper: Halloween Night of Fear. The scary seventies rocker is coming to Camden. This will be a shock rock night. The ultimate sideshow freak performance, on one of the scariest evenings of the year, from 31st November 2010.

In film: We also have Scary 3D Halloween All-Nighter at BFI London IMAX Cinema.

Five films will be shown throughout the night, in glorious 3D. The films that will be shown are The Hole (2009), Piranha (2010) and Resident Evil: Afterlife (2010) on 30th October 2010. For more movies in London, see the film listings on woZZon.

For more information about these events, search what’s on in London on www.wozzon.com.

London events are the famous events all over the world and people from different countries visit London to participate in these events. Let it be New Year celebration, Christmas celebration or anything a person who has visited will definitely come up with a question what’s on in London? Events in London come up with surprising and delightful events that attracts visitors from all over the world. People who have visited London once during any even will surely like to visit London more to participate in these events and enjoy the London visit fully. Visitors too have the permission to take part in these events and make it wide.

The events in London are one of their kinds; they are unique in their own way. People feel delighted after participating in these events. London events are full of energy and every individual participating in it feels energetic during taking part in the events. If any individual of London is being asked about what is of more enjoyment in London? The answer will surely be the events. Local people of London and the visitors of London look forward for such events. People of London enjoy different kinds of events in every season so no issue of selecting any particular season for participating and watching the events.

The question arises obviously what’s on in London? Reply to this question is events ranging from music, theater, food, beer and fine fairs and etc. No special schedule is required to be decided for making any visit to London to see the events. These events take place throughout the year. When these events actually started only few hundred people joined it and now the events in London attracts thousands of people. This is an achievement of the London events that it can now attract the visitors easily as the events taking place in London are giving the place name and fame which has added more stars in the reputation of the place.

London events not only attract the ordinary people but it also attracts celebs from all over the world. Many of these celebs spend their vacations by participating in such events and experiencing the energy and thrill before joining the work again. The details of the up coming events can be drawn through the different sites that provide information regarding the event, the duration of even and the detail of what all it is related to.

Many events and show performances are being carried on in London due to the fame of place as well as due to the beauty of the place. Anyone can surf the related site and enter queries regarding what’s on in London? Number of answers with event detail can be seen on screen. London is achieving heights in conducting successful events that are full of energy, enthusiasm. Local people of London plan their work schedule and vacations keeping in mind the events in which they are going to participate. The visitors too participate in many events that are new to them, it is kind of fun to them through which they can understand the logic and culture behind those events.

If you are arranging an event that needs music then it stands to reason that you’ll want it to be perfect. The fact of the matter is that the music you choose will depend highly on the type of event you are arranging. However rather than just taking care of all of this yourself you should hire a professional to take care of this for you.

There are DJs operating throughout the UK that you can hire to take care of your entertainment needs for you. It is a matter of finding the right DJ for you so that your music is just perfect. If you find an experienced DJ then you can be assured that they know what music to play and how to keep everyone entertained. They will also know how to get people up on the dance floor when it is quiet and how to control things such as speeches as and when needed.

This means that you can get on with enjoying the event rather than worrying all the time about what is happening and whether your guests are happy.

Don’t worry if you are unsure of a DJ that is local to you because you can search online easily for someone that can help. Ideally you also need a DJ that has experience in the type of event that you are arranging. For example if you are getting married and you live in London you should search for ‘Wedding DJ London’. This will return results of all the DJs near you that are able to provide music and entertainment for weddings.

When it comes to hiring a DJ you should try and contact them as far in advance as you can. This means that you can give them any details of songs that you want and even if they don’t have them, they should have time to source them. This is particularly essential if it is a wedding and you want a specific wedding song played. Give them details of the songs that you want in advance and they should have time to find these songs and ensure that they are played for you.

People traditionally celebrate Halloween by wearing costumes, trick or treating, carving faces into pumpkins, telling ghosts stories, visiting haunted attractions and watching horror films.
In London, a wide array of theme events, parties and special activities for all ages will take place across the city on Halloween Night 2010.

If you are a Shock Rock fanatic you can’t miss the opportunity to go to the Alice Cooper Halloween Night of Fear. This is his most special and unique show, where he’ll be joined by Jim Rose and Zodiac Mindwarp & The Love Reaction. For more information Click here.
If you want a terrifying theatre experience, then visit Ghost Stories, a chilling new production from The League of Gentlemen’s Jeremy Dyson and Andy Nyman. They will make you cry out with their frightening stories.

The London Ghost Festival returns for 2010, the festival features special events across the city including tours of haunted sites and investigations into the supernatural. This festival aims to get everyone exploring the world of the supernatural with an open mind.

This Halloween step into the dark and dank tunnels under the London Bridge, Phobophobia is the Halloween special event at the London Bridge Experience. Prepare to meet your deepest fears exploring the fear of fear itself walking through the haunted tunnels. The site is full of burial pits and it is the home of many ghosts and all manner of creepy crawlies.

If you are looking for a deliciously devilish night of music and entertainment, Lynx Halloween All Nighter brings to Alexandra Palace some of the world finest DJ’s and live acts to celebrate Halloween alongside 10.000 music fans!

For alternative people The Torture Garden Halloween Ball offers a spooky night with radical performance art, burlesque cabaret and a compulsory fantasy dress code for all. Up to 2000 clubbers are expected to come to the party, that is expected to attract a number of a different underground cultures such as goth, burlesque and electro. It has different theme rooms and will be showcasing fashion shows, art installations and live music.

For those who like breathtaking experiences and feel of their heart hammering in their chest, The Passage Of Terror offers an interactive show with some of the most famous and terrifying characters in the history of film and literature. The show promises goose bumps, sweaty palms and squeals of terror. It gives the chance to live your own horror film, with atmospheric lighting, spooky sounds and special effects to help you become immersed in each scene you encounter.

The London Dungeon is opening a brand new show featuring Jack O’Lantern and the Sounds of Hell. Visitors will be pursued by the screams and moans from the mouth of the hell into the hellish labyrinth. More horrors wait for those who want to try the two new rides, including the Extremis – Drop Ride to Doom where you fall victim to the hooded hangman, and the Traitor – Boat Ride to Hell ride, which will leave you cowering and shivering from fear.

Chills in the Chapel returns to Union Chapel for the lovers of horror films. For three nights the gothic Union Chapel will be the home of the screams, screening classical horror films with candles and atmospheric lighting.

Pump House Gallery is going to do a Halloween workshop to create images of skeletons, ghosts and other spooky stuff using magic paper, for all the family.

If you want do not miss the chance of be terrified this Halloween in London stay at Umi London, our Central London Hotel situated in Notting Hill, near all Halloween events.

By Mark Ighile

Introduction

For if culture is, as Sam Akpabot (1986:91) puts it ” a way of thinking, feeling and believing in any given society, resulting in a behavioural pattern which gives that society a distinctive identity”, then one remarkable scheme of finding out about the culture of a people is to examine how they conceptualise their music. The argument of Wissler ( 1922 :155) in respect of the cultural potentials of music is appropriate for our present study. According to him “music is a stable trait and therefore provides a useful basis for determining the diffusion of other cultural traits” Alan Merriam posits that:

Music is a product of man and has structure,
But its structure cannot have an existence of its
own divorced from the behaviour which produces
it. In order to understand why a music structure exist as it does,
we must also understand how and why the behaviour
which produces it as it is, and how and why the concept which underlie that behaviour are ordered in such a way as
to produce the particularly desired form of organised sound
(1964, 7)
Fundamentally because of their different environments, more than any other reason that may be advanced, the African and the European conceive of music in different ways. Tracey (1960:10) for instance, believes that the word ‘music’ in Africa means ‘vocal participation, the physical manipulation of instruments and the rhythmic or dance movement associated with music’. In order to get at the true involvement of music in an African society, we need, as Sam Akpabot also advised, to study closely the role of music in religion, government and the various secret and ceremonial societies which regulate the lives of the people, not forgetting the individual and collective role of musical instruments.

The Benin Society
While this paper does not undertake a re-assessment of Benin society and culture since this is neither a historical nor sociological study, it is however important to undertake a summary of the socio-cultural milieu from which Benin song and music emerge. This is because, any approach to the songs of Benin people that fails to recognise the dynamic nature of the society in focus, is likely to miss its significance.
Any formal discourse on any aspect of the people and their language must begin with a clarification of the trems “Edo” “Benin” and “Bini”, especially as they have come to be associated with a number of distinct interpretations. The oral traditional account, as diligently documented by Jacob U. Egnarevba in hi famous book, The Origin of Benin, traces the origin of the use of the term “Edo” as the indigenous name for Benin City to Oba Ewuare (1446 -1473). According to one version of the account:
“Edo was a slave to the then Ohieta
He saved Ewuare from a sudden death when
He was about to be arrested by the chiefs.
Therefore in order to immortalize the name of the
His deified friend, Edo for the good service he
Rendered him, Ewuare changed the name of the
City to “Edo” according to his friend’s name…”
(Egharevba 1954:8)
If this account is true, as Rebecca Agbheyisi argues (1982:iii), it would appear that the extension of the name to refer also to the language of the inhabitants of the city, and indeed the Benin Kingdom was a natural development. One of the earlier names for the territory before this change to Edo was Idu, a term which remains in names such as Idubo, Idumwonyi etc.
The other names also currently associated with the city and language of its inhabitants, namely “benin” and “bini” have an origin which in somewhat obscure. Again according to traditional account

From the time of ogiso igodo (obagodo)
to Ere, the country was called “igodomogodo”,
from the time of ogiso Ere to Evian, it was called
“Ile” Oranmiyan called it “Ile-ibinu” oba Ewedo
( i.e 1255 -1280 ) change it to Ubini ( Benin )
(Egharevba 1956:3 )
Collin legun’s account is not radically different from that recorded by Egharevba. According to him

a thousand years ago the kingdom was known
as igodomogodo ( town of towns) a name that
survived for 300 years or so. Its name ile ibinu
– The land of vexation was bequeated by the
first of its Obas, Oranmiyan. Later it was
amended to Ubini and translated into Benin
(1960 : 103)
All the same, if the Oba Ewedo’s name for the city “Ubini” is the origin of “Benin” and “Bini” then it would not be out of place to argue that their use the city and the language predates that of “Edo” in which case the latter was intended to have replaced them.
Thus, there is an obvious sense in which the three names can be used side by side though with some degree of specialisation in their respective references. “Benin” systematically came to be used strictly as a territorial label as in the expression: Benin city, Benin kingdom, Benin empire, and Benin division while the other two names “Bini ” and Edo have become predominantly linguistic and ethnic labels referring in scope to the language and people of the same Benin kingdom. However, as Rebecca Agheyisi observes, “Edo ” has continued to serve as the indigenous name for the city.
(1982: IV)
While there seems to be agreement on the factor of “Benin” as a territorial tag, the issue of the place and nature of “Bini” remains a controversial one. The Oba of Benin (1992) stressed that the early chronicles never referred to the people as “Bini” what obtained, according to the monarch was that the empire was known the earliest historians as Benin City, Benin Kingdom and Benin Empire. The inhabitants, the citizens are known as “Edo”. Of course, to the actual indigenous citizens both the territory and the people are known as Edo, thus “Irrie Edo” (I am going to Benin) or “Ovbie Edo” (Benin person). “Bini” according to the Oba, crept in through wrong pronunciation and therefore wrong spelling by non-Edo indigenes.
The Edo language is today spoken throughout most of the territory conterminous with the Benin Division of the former Mid-Western State of Nigeria and which has now been demarcated into the Oredo, Ovia and Orhionmwon Local Government Areas. The same area constituted the permanent core of the pre-colonial Benin Kingdom and empire and its inhabitants have always referred to themselves as Ivbi –Edo.
However, it is important to note the further ambiguity introduced into the reference of the term “Edo” as a linguistic label when linguistic decided to use it as the designed for the group of historically related languages and dialects spoken in various communities within and around the former Benin Kingdom. These languages and dialects include the Edo language proper of the Benin Division, the Ishan group of dialects: the language and dialect now spoken in the present Owan Etsako and Akoko-Edo Local Government Areas, Urhobo and Isoko and their related dialects.
Although Northcote W. Thomas referred to the speakers of these languages and dialects as the “Edo – speaking peoples” in his famous ethnographic report of 1910, this seemed not to have settled the controversy. Westermann and Bryan (1952:87) for instance created their own kind of ambiguity by referring to the group as the “BINI Language group” and to the single language as BINI. They however noted that the name Edo is used by some writers (eg Thomas) to cover all the languages of the Group
However, the ultimate solution to the nomenclatural problem, as Agheyusi (1982) also rightly pointed out may be found in the proposal by Ben Elugbe entitled “Edoid Languages” published in 1979. The obviously positive implication of Elugbe’s contribution is that it frees the term “Edo” for use in reference to the single language and the people.
It is important to add, at this point, that the Edo language as a tonal one. And this being so, the characteristic inflection of tone affects the meaning of utterances which are given the same graphic representation. Many Benin singers make ample use of tonal variations in their songs. Egogo Alagebo is a striking example of the lot.The estimated area of the territory of Benin is about 10,372 square kilometres while the 1952 and 1963 population figures for the Divisions are given as 292,081 and 429,907 respectively (Agbeyisi, 1982 : IV). At mid 1986 the estimated population was given as two millions (1991 population census, Norborg 1992 : 3).The Nigerian Population co
The Benin society possesses a rich oral and written literature. While the former is well known by the people, the latter is developing rapidly. The Benin oral literature is by definition dependent on the performer who formulates it in words on specific occasions. It can be said to be a tradition which nourishes its pride and is transmitted from generation to generation. The literature is portrayed in their masquerades; stories and folklore. Proverbs, riddles, satirical jests, poems of indirection and moon-light rhymes also play important roles in the literary life of the Benin people.
Two types of communicative events as a appropriate for story telling are recognised by the people. These are the ‘’Ibota and Okpovbie” . The Ibota according to Osemwegie Osayomwanbo (1992) literally means ‘’the prolongation of the evening”. It is a sort of relaxation in the evening by the family or a group of people, a mixture of adult and the young ones, male and female. They listen to the stories and event that have happened in Edo Kingdom or events embodying planning for the development of the community. In Ibota story telling events, one person could upon among the family group to tell a story he knows while others listen attentively. The head of the family presides over tales told in Ibota.
The Okpovbie essentially entails the playing of drums throughout the night without sleeping. The Okpovbie story teller in Edo is a professional man who tells stories with efforts to entertain people till daybreak. This kind of story telling is quite different from Ibota because the Okpovbie stories are of a more serious events, and longer than Ibota stories. Generally speaking however, the most common stories are trickster stories about the tortoise (Equi) and his dubious ways.
Most of the stories teach moral lessons and this didactic quality of the tales makes them serve as means of improving the morals of the people. They also carry out psychological functions. People with mental, emotional and psychological problems have their tension released and their spirits lifted up, the moment they listen to these tales.
Quite an appreciable number of stories have songs (ihuan) in them, and during the course of narrating these tales, tales, the performer (or narrator or story teller) sings a song while the audience joins him by repeating the choruses. It is not unusual for both the performer and the audience to clap their hands and dance as they sing. This dramatic action sharply illuminates the function of these takes as means of entertainment. In order to sustain the interest of the audience and make his tale credible, the story teller use histrionics and other forms of dramatization.
The roles played by proverbs (itan) and riddles (irro) in the literary and cultural life of Edo people can hardly be over stressed. In fact they form the basis of many traditional expressions in the Benin society. Proverbs can be described as popular sayings or, as Uyilawa Usuanlele (1991:3) puts it ‘’an indomitable expression or quotations embodying some form of truth and wisdom used in a speech to support or summarize some point”. And although some scholars attribute shortness or conciseness or brevity to the quality of proverbs, this does not obtain at all times. Proverbs are very crucial to rituals, marriage and burial ceremonies, court, schools conversations and other social functions.
Proverbs carry out emotional and moral functions. While some are used for encouragement as in ‘’Uhunmwun ekpen wi ye o ha” which means that the elephant’s head never gets lost in the forest, some others are used for advice as in ‘’Ikhiavbo etan se ne Oyaen ‘’ which means that the melon never grows more than the one who cultivates it. This is a counsel given to the young to be of good behaviour. Some proverbs can be seen as protest ones. They probe and at times, question actions. A striking example is T’ime ma gbe Ovbie E bo (Did I kill the European?).This proverbial saying is used to refer to situation in which undeserved extreme punishment (Usuanlele 1991: 8).
Other Proverbs are used in prayer to ward off evil as in ‘Atete wi i ye igho which means that the traditional tray never gets lost in a feast and ‘’Ebee ake awe ye Uhunmwun erhan” which that mishap never befalls a bird which is on top of a tree. These expressions are also frequently in ritual perfofmance by those seeking protection from the divinitees against their adversaries.
Riddles (Irro) usually come up during evening relaxation. The questioner begins by posing : Gbi iro to the audience which responds by saying ‘’Alo”.
Question : ‘’Gbi Iro”
Answer : ‘’Alo”
Questions: He digs, yet he has no tools or hands.
Answer: Urine.
Some riddles express contrast or relationship between two different objects and ideas. At times similar objects are brought together in order to describe their differences. For instance:
Question : two sisters locked up in a room weeping, one edible, the other not.
Answer : though we aeat sugarcane, we do not the weed.
Riddles, like puzzles, are very important in the literary and cultural life of the people. They, as Lghile (1991 : 16) put it “test the scope of the knowledge of the people, thereby making the community aware of various aspects of life”.
The art and creativity of the masquerade (ekpo) are demonstrated in the dramatic movements and songs of the performer(s) and the audience. The masquerade normally come out in the dry season from their farm which is known as “ugbe ekpo”. This place is where all preparations for the publis performance are made. Women are not allowed to enter the farm. And the telling, the performance comes up in the night. It should be stressed that while Benin popular songs have not completely lost grip of the past, they are very much concerned with the present reality of Benin society.
A Conceptual Approach to Benin Song and Music
Alan P Merriam (1964) gives music an anthropological and social interpretation, an exercise which indirectly promotes the submission of Mair (1965) that culture has to do essentially with ” the common possession of a body of people who share the same traditions in social terms”(8). He says :

Music exists only in term of social
interaction and it is learned behaviour…
it involves the behaviour of learned
individuals and group of individuals
( 27)
As if giving credence to Merriam’s view and at the same time making a case for musical values and their changing social conditions,, Nketia Kwabena (1974) observes that:

A knowledge of….
music in its social context is a prerequisite
both for understanding the contemporary
musical scene in Africa and for gaining
some insight into the musical experience
as it relates to the African in his personal and social life.
( 19-20)
Musical concept is important because they determine how music is appreciated and evaluated in a particular society. Knowledge of musical concepts, it should be stressed, is not synonymous with verbalisation and actualisation. That the Benin people have not been emphasising “sophisticated” analysis of music (i.e. the musical examination in scale and feet), does not mean that they are ignorant of such concepts as melody, tempo, pitch and rhythm. There are indeed terms in the Bini language which are technical in the sense of being almost exclusively concerned with music and the people. This restrictive or rather non-universal element of music should be put in its proper course of its ability in settling some pronounced misapprehensions. Akin Euba (1969)’s observation is worthy of note. According to him;

In (traditional) society there is no language
of music universe among the people of
Nigeria. In other words, each tribe has a
musical language of its own which is often
exclusive to it and there is little musical
communication on an intertribal basis.
This situation may be due partly to a
Conservative approach to music

And partly to the use of music
to satisfy the social requirements of the
tribe. It may also account for the
multiplicity of traditional idioms of music-
of speech language- and of musical
instruments found in the country.
( 476)
In order to fully acknowledge the Benin popular song, it is necessary to have an idea of how the people embrace or receive this particular genre of their oral literature, what they appreciate as the beauty of song, what constitutes a good musical production, what is expected from a composer and so on. But before addressing Benin musical concepts, it is essential to give attention, by way of distinction, to ‘folk’ and popular song.
In his prefatory essay to The Study of Folklore. Alan Dundes (1962:2) attempts to simplify the issue of folk for the introductory student. Folk according to him can refer to “any group of people whatsoever who share at least one common factor”. Although this definitive observation can be seen and taken as an oversimplification of the delicate concepts of folk and folklore, and which as characteristic of a particular group are quite illuminating. The distinction, in Western music between folksong, popular song and art song in terms of training, performance and other technical expectations is worth noting. As explicitly presented in Encyclopedia Britannica (1943) :

Folk songs are not intended for trained virtuoso
performer. Mostly they are sung unaccompanied
or with simple accompaniments i.e. guitar. They
are usually learned by ear and are
infrequently written down. They are
susceptibly to change. Composer of most folk-
songs are unknown, forgotten…Art songs
are intended for performance by professionals,
or at least carefully taught singers. The
notes are written down by known composers
…Popular songs stand midway between folk
and art songs with regard to technical
difficulties, sophistication and resistance
to change.
(349)

Perhaps more total and embracing of the striking approaches to the conceptual elements in focus is that given by George List (1972:363). He sees the term ‘folk music’ as on “often loosely applied to cover all traditional or aurally transmitted music, music that is passed on by ear and performed by memory rather than by written or printed musical score”. He then goes ahead to highlight some remarkable features of folk music- the performer is not aware of its origin and the melody exists in various forms. “Popular music” to him may not be transmitted by the musical scene. It so often varied in performance and at times is improvisatory in nature… (it) is generally an ephemeral commercial product intended for mass consumption rather than a tradition known and practised in a restricted area or by a subculture (1971,364). George Herzog 1972:1032) in the same light states that “folk song comprises the poetry and music of a group whose literature is perpetuated not by writing and print, but through oral tradition”

The approaches of Dundes, List and Herzog stress the communality of the “folk” and their dependence on the spoken word as opposed to writing. Because the society in focus (the Benin social set up), is largely pre-literate, the element of writing and oral tradition as distinguishing characteristics of popular and folk songs respectively, is not too relevant. And since the rural and urban exist on a mutual and relational basis, the distinction of folk as rurally oriented and popular as tending more towards urbanity, is not convincing. What is however striking is the place and identity of the composer. In the case of the folksong, neither the composer nor the time of origin of the song is known. With this reasoning therefore, folksongs in Benin would be said to include lullabies. On the other hand popular songs are compositions whose composers are known, in the villages and in the urban centres. A thematic distinction can also be made. “The folk songs are preoccupied with issues that can best be termed”traditional”. As Nketia (1973:1) puts it: folk songs are “perpetuated largely by oral and integrated with a living, surviving or historical pattern of community life” Popular songs, on the other hand, accommodate modern ideas, modern politics and the modern overview. Some strokes of English and other languages are woven round the songs.
There has been an acknowledged disagreement on the definition of music and the factor of abstraction. While Willard Rhodes (197:38) for instance, observes that “music exists in abstraction, and is composed of tone that has no symbolic meaning”; scholars of non-Western music are opposed to the definition of music in such abstract, non-relational term. Music, they insist, ought not to be treated as an extra-societal phenomenon. The complex behaviour which leads to music production is of equal relevance as the final sound product. Such behaviours to a large extent condition the acceptance and appreciation of the end product. Merriam, (1964) thus warns that

Music cannot be defined as a phenomenon
of sound alone, for it involves the
behaviour of individuals and group of
individuals and its particular organisation
demands the social concurrence of people
who decide what it can and cannot be (30).

The Binis have their own musical singing style polished by their culture, language and level of literacy. To them, music is, among others, a function of human effort and order. A person either uses his vocal mechanism to produce music as is singing or his hand as in instrumental music (Norborg, 1992, 25ff). In any case, to produce meaningful music, there must be a creative blend of form and some kind of organisation or recurring pattern. The fact that music is produced by human beings who impose order on the sound readily presupposes that not every person within a given cultural group can do this with the same degree of skill. This readily introduces us to another vital concept, that of ‘musical talent’. The Binis are not consistent on how musical skill is acquired. There are some who hold the view that talent is inherited from one’s parents or at least a relative, others believe that talent is acquired by drinking certain medicines and others believe that every person is born with the same aptitude but interest and training determine whether one becomes a musician or not. At the centre of these diverse views is the embracing belief that people are born with equal opportunities of acquiring music talent but one’s family background and his upbringing as well as his determination can make him a better musician than others.

Apart from musical talent, another concept which is crucial in determining music production in a culture is that of the origin of music. Here again Merriam (1964) states that:

A distinction must be made at the outset
between the ultimate source from which music
originates and the sources from which the
individual draws his specific music material.
That is, the ultimate origin of music or of
specific kinds of music may be held to be the
creation of the gods, for example, while
individual songs in the same society may be
obtained through borrowing.
(74).

In other words, the possibility of borrowing and socio-divine origin brings to light a set of realisable origins of music: the supernatural, the individual or community or through borrowing. In our brief exposition of ‘folk’ and ‘popular’ song, we subtly addressed the origin of song among the Binis. Music is held to be as old as man as is shown in the saying”kobe n’ bue agbon te abgon, a ke siwuan” which literally translation means ‘since the beginning of man, he has been singing”. This clearly implies that music is so old that it is not always possible to know its origin. There is however no doubt whatsoever that the Binis do not believe that music originates from animals, even if in tales animals do belief I divine or supernatural origin of music. Music is seen as the product of human creativity blended with interest and training. The way a people conceive of the origins of their music is important because it determines the functions of their music as well as ideas about ownership. When music is held and taken to be the product of human beings, whether as individuals or as a group, the musicians are more conscious of their creative efforts, of the need to strive after excellence. With respect to Benin popular songs, the composers are not only known, but they themselves are aware of their relative fame in the society. This gives room for keen competition and thus promotes high standards.
Closely tied to the origin of music is the concept of ownership. Whether music is a communal property, individual or group property depends in the long on how it originated. The music of secret societies (kyaagba 1982,38) provides a ready instance of that which is owned by a closed circle of initiates and it is taboo for non- initiates to even try to learn it. Lullabies are common property because their composers are unknown. Popular songs, however, are the property of their composer. But ownership here, it must be stressed, should not be seen in Western copyright terms; for one does not need to apply for permission to sing any song. The composers themselves privately sing and enjoy one another’s song but for public performances, they keep strictly to their own repertoire. Singing another composer’s song would be a way of acknowledging the superior artistry of such a composer, and the strong but healthy rivalry that exists among composers makes that impossible.
Ownership of music determines to what extent members of the society have access to the composition of its musicians. Communal ownership entails wider appreciation of the music, while a situation of copyright restriction limits the range of usage. Benin people do not tie starkly ownership of music to the composer. No composer would ever contemplate prohibiting the singing of his song even if he could, as this would be selfishness of the type unacceptable to the society. Even in cases where composers have waxed records, their songs continue to be used as if they were not covered by copyright laws – indeed not very many people are aware of the existence of such laws.

The place of the musician is very central to this topic. And his role as the originator of music cannot be overemphasised. Nketia (1964) says:

…an understanding of the role, functions,
and personal life of the musician may contribute
to our understanding of his music with respect
to what it means both to him and to those who
enjoy it with him.
(79)
While the musician may not necessary need to possess special qualities, he certainly requires a good voice, a retentive memory, ability to create on the spur of the moment and a certain flair for histories. Such abilities could be developed and advanced through constant practice. However, musical association that perform social dance and music for their own enjoyment or for the entertainment of others are common among the Benin people. They are often hired to display at festivals. Most musical associations specialise in one type of dance and music which they perform regardless of the occasion.

There is a strong sense in which members of a musical association can be classified as professional musicians. They are organised into group, they received financial reward for their services, and they have received at least some formal training. In most cases, instructions can be given by elders, relatives or by other local musicians (Nketia 1975, 51-64). Often leaders of musical associations serve as instructors who try to improve their groups by having rehearsals regularly. Generally, the reputation of a musical association can be attributed largely to the leader’s skill as a musician, teacher and organizer. Members of such group are not usually full time musicians; although they have other occupations as well, they are normally acknowledged as professional musicians. In this capacity, they are not regarded as having either high or low social rank. Nevertheless individual differences in musical ability are recognised, and a person can enjoy a considerable measure of personal prestige as an expert. Musical associations have probably existed for many centuries among the Edo. Certain social dances are said to be very old and Adam’s account (1966; 114-115) of a social dance performed by women to the accompaniment of “Ukuse” gourd rattles shows that there were groups of professional musicians and dancers in Benin at the beginning of the nineteenth century.
It is well known that Benin kings and chiefs have had musicians connected to their courts since centuries. The court musicians of the Oba of Benin are divided into five groups: the ‘Ogbelaka’, the ‘Igbemagba’. the ‘Ikpema’, the ‘Ikepeziken, and the ‘Ikpakohen’; each of which is charged with specific responsibilities at the court. They all belong to the Iwebo Palace Association ( Egharevba 1968: 78-80). The ‘Ogbelaka’- the Royal Bards- dance, sing and play various instruments at state rituals such as Igue ( the yearly glorification of the head), the coronation and funeral ceremonies for an Oba. They also perform ‘Ikiewa’ i.e. waking the Oba ceremonially by imitating the crow of a cock. They live in a special quarter in Benin City.The ‘Igbemagbe’ (i.e. the ‘emaba’ performers; ema= drum,eba=jingles made of dried aba seed pods) also dance and pay their instruments the emeba clapperies bell, at Igwe and at the funeral ceremonies of an Oba. The ‘ikpema’ (i.e.’ the players of the drums’, singular Okpema ) on the other hand, only play different types of drums. Like the ‘ Ikpe.iziken’ (i.e. ‘the players of the eziken; singular Okpeziken’) who play eziken flutes, the ‘Ikpema’ are employed on various ceremonial occasions such as the funeral of an Oba and the Oba’s procession through Benin City during certain festivals. The ‘Ikpakohen’ (i.e. the players of the akoyen) singular Okpakohen, finally, who play ivory flutes and horns are also employed on a number of ceremonial occasions, among them the coronation of an Oba Outside these groups stands the ‘Okpakha’ i.e. the players of ;Okha’ who beat the Okha slit-drum to summon people to some of the state rituals. Court musicians are usually full-time professionals. They are organised into groups, they receive financial rewards for their services, and they receive some formal training. In addition, most of them have no other occupation, but as musicians, their means of living is supplied by the king or chief whose court they are connected.

Conclusion

While the distinctions between folk and popular song among others in the final analysis, may not have comprehensively explored the Benin musical concepts and society, it has undoubtedly succeeded in narrowing down the field of reference and guarding against generalisation. The Benin popular song has its firm foundation in the people’s oral tradition and therefore tasks their collective consciousness. The composers too are not unaware of the need for them to come close to the tradition so that their songs would be more easily embraced and appreciated. This explains why the musical concepts held by the society are of importance to the study of songs. It is also necessary to have a recourse to Alan Merriam (1964: 63)’s identification of a number of concepts such as the distinction between music and noise, musical talent; origin of music, production and ownership of music. It should be stressed that while Benin popular songs have not completely lost grip of the past, they are very much concerned with the present reality of Benin society

Works Cited

Akpabot, Sam. (1986) Foundation of Nigerian Traditional Music Ibadan: Spectrum Books Limited
Dundes, Alan ed (1965) The Study of Folklore. New Jersey: Prentice-Hall
Egharevba, Jacob. (1954) The Origin of Benin. Benin City.: Ethiope Publishing Corporation.
—————— (1956) Benin Title Benin City: Ethiope Publishing Corporation.
——————- (1960) A Short History of Benin, third edition. Ibadan: University Press.
——————- (1968) A Short History of Benin, fourth edition Ibadan: University Press
Encyclopedia Britannica (1943) London: William Benton Publisher Vol. 1X
Herzog, George (1965) “Stability and Form in Traditional and Cultivated Music” In The Study of Folklore . Ed Alan Dundes Eaglewood NJ. Prentice- Hall Inc
Kyaagba, Hyacinth 1982. The Tiv Popular Song: Two Case Studies (A Literary Study of Song Text(s). Unpublished M.A. thesis, University of Ibadan, Ibadan.
Mair, Lucy. (1965) An Introduction to Social Anthropology. Oxford: The Clarendon Press.
Merriam, Alan. (1964) The Anthropology of Music. Evanston 111: Northwestern University Press
Nketia, J.H.K. (1964) African Music in Ghana: London and Accra: Longman and Arts Council of Ghana.
————–\— (1975) The Music of Africa. London: Victor Golland Ltd
Norborg, Ake (1992) The Musical Instruments of the Edo- Speaking Peoples of the South- Western. Nigeria.. Stockholm: Musikmuseets Skrifter 22.
Oring, Eliot. (1986) “On the Concept of Folklore” In Folk Groups and Folk Genres. Ed Elliot Oring Legon: Utah State University Press
Tracy, Hugh. (1958) “Towards an Assessment of African Scales” African Music Vol 2, No. 1, 10-20
Usuanlele, Uyilawa (1991) “Proverbs as Useful Sources for Reconstructing Colonial African History with Some Bini (Edo) Examples” A Paper Presented at the 10th Annual Conference of the Archeological Association of Nigeria , Ibadan, 10-11 November.
Wissler, Clark. (1992) The American Indian. New York : Oxford University Press.

When it comes to cultural entertainment, London has few shortcomings – a fact that’s apparent in the city’s impressive calendar of theatre, music and dance performances, not to mention its spectacular host of concert halls and event venues – one of the most iconic and versatile of them being the Royal Albert Hall. Inspired by the success of Prince Albert’s Great Exhibition, the Royal Albert Hall was opened in 1871 – ten years after the Prince’s death. Being largely influenced by ancient amphitheatres and notions of the arts, the oval structure’s terracotta walls are decorated on the outside with a frieze dedicated to “The Triumph of Arts and Sciences”. Today, the stunning venue stands as a testimony to the architectural and aesthetic achievements of the past, as well as the technological developments of the present; it even features the largest pipe organ in the British Isles.

The Royal Albert Hall hosts a wide variety of entertainment events, including classical, rock, pop and jazz music, sporting events, galas, banquets and balls and the world-famous Proms series. It has a capacity of 8000, but is typically packed with crowds during the summer months when the Promenade concerts take over. Thus, visitors have to the option to queue up on the day of an event in order to get cheap, last-minute tickets for the seat-less “Gods” level (the highest level in the hall), or to book in advance for seats up front.

The Royal Albert Hall has a year-round line-up of traditional and contemporary theatre, music and dance events. Upcoming performances include: the Royal Philharmonic Orchestra on 15 March, the Classical Spectacular 2007 from 22 March – 25 March and the Cathcart Spring Prom concert on 17 May. There’s even a Ballroom Dancing Championships event being held in autumn!

If you’re planning to attend an event at the Royal Albert Hall in London, make sure you book a hotel in South Kensington. That way, you’ll be close to the venue and you’ll still remain well connected to other top London attractions such as Hyde Park, Kensington Palace, the Victoria and Albert Museum and the Natural History Museum. Moreover, South Kensington is located right next to Knightsbridge, which, being home to the exclusively famous Harrods and Harvey Nichols department stores is one of the prime shopping districts of London.

So, during your next visit to London, book a hotel in South Kensington and attend a performance at one of the most iconic and atmospheric music venues in the world: the Royal Albert Hall.

Andrew Regan is an online, freelance journalist.

Even when the festivities of Christmas are over and the New Year crowds have dispersed, 2010 will only just be getting underway and a whole year’s worth of events, festivals and celebrations will be upon us. Always a city with a lot going on, London looks set for a year to remember as parades, carnivals, international sporting events, music and much more are packed into the 2010 calendar.

Clear the New Year cobwebs by starting 2010 with London’s famous New Year’s Day Parade. Starting at noon, this winter parade marks the 24th anniversary of this vast spectacle, with up to 10,000 performers expected to take part this year. Of course January in London is almost as well known for something else too: the January sales.

Watch as London’s Chinatown and Trafalgar Square come alive in February as the Chinese New Year is welcomed in with its own carnival of dance, traditional costume and acrobatics, as this ceremonial tradition is enjoyed by everyone. Prepare to dress to impress too, as London Fashion Week kicks off on 19th February with a host of international designers, models, celebrities and style icons.

Trafalgar Square will host a stage of Irish music and performance as The Mayor’s St Patrick’s Day Parade gets into full swing. More than 100,000 revellers joined in the fun in 2009 to raise a drink to St Patrick and enjoy everything Irish. Synonymous with the English springtime and still a national institution, April sees the Oxford and Cambridge Boat Race take place. This annual custom dates back to 1829 and, known simply as ‘The Race’, is a memorable occasion as these two historic institutions battle it out on the 4-mile stretch of the Thames.

The biggest draw in May has to be the annual Chelsea Flower Show, held for five days each year by the Royal Horticultural Society. Far more than just a stage to showcase the world’s leading flower and plant displays, this event is a highlight in London society’s calendar, where people come to see and be seen. For some tense centre-court showdowns, nothing beats starting the summer with a day at Wimbledon 2010. June is also when London’s famous Pride Festival takes place, celebrating the city’s vibrant gay scene and community.

Come August, the summer festival season is underway with the world-famous Notting Hill Carnival, the largest festival parade of its kind in Europe. The summer BBC Proms arrive again in September, to spend eight weeks celebrating classical music and musicianship with more than 70 concerts in the dome-topped Albert Hall.

Come winter, London’s seasonality is perhaps at its most defined, as shops prepare for Christmas and Hyde Park’s magical Winter Wonderland opens; bringing a wonderful show to children and grown-ups, with the largest ice rink in London, grottos, markets and much more.London hotels often offer reduced rates around big events, so it’s possible to enjoy more of the city for less.

While it’s true that DJ’s are sometimes difficult to choose, getting the right one is a difficult minefield, where anyone with a turntable and some music can claim to be a DJ.  The best are often in high demand, so if you’re not ‘in the know’ you might not be able to get the best DJ for your needs.  With a little bit of help, finding a DJ in London can be a piece of cake.

Why DJs are an important element of any event

Whatever the event you are planning, a DJ will add the finishing touch to the event, giving you a chance to provide top class entertainment for your attendees without any effort.  All you need do is hire a DJ.

One of the issues that people have with choosing a DJ is evaluating reviews.  Highly positive reviews could be ‘planted’ as could highly negative ones, so it’s difficult to know who to believe – one of the best suggestions on handling this is to look at the reviews and either see if you have a friend or colleague that’s listed on the site and ask them.  Another option is to use a trusted site that lists and rates DJs based on monitored feedback – it’s more likely that these reviews are accurate, as the site probably has quality control.  You could also use a DJ recommended by a peer reviewed site, such as a wedding site – again, there are controls in place to ensure that these reviews are real.

What a DJ will do

A DJ can be many things, but the most important thing is an entertainer.  They provide music, either to suit the mood, or to give a backdrop to an event.  DJs in London can perform at any event you can think of, from a corporate party, to a wedding, anniversary, or even a celebration for retirement, birthday or graduation.  The versatility DJs can display can also be checked by asking if they take requests, have a set list or are interested in playing music brought in by other guests – depending on the group they are playing to, they may or may not do anything other than ‘their usual set’ or work to what you need.
They pump up the crowd and give your event an atmosphere.  What they can’t do is change how good they are – though sets may vary from day to day, if they’re not playing the music that you want, chances are you won’t enjoy it.  And that’s one of the questions that you have to ask your DJ – whether they’ll play the music that you want, or if they don’t, whether they’ll consider it.  Most of all, you have to be satisfied that they’ll play the stuff that you and your guests will enjoy, as a good DJ will make a party go from fun to absolutely amazing.

London is a suitable destination for leisure loving travellers as well as business focussing travellers. To match all these requirements, there are events that add to the interests of these travellers to their travel to London. Follow the line up of March London events, and book a London accommodation that suits the convenient reach out to the venue of these events. Find the lined up events and a perfect lodging in the surrounding area:

Mamma Mia in London

Mamma Mia in London is among the most loved musicals of this city. If you too are a lover of the Abba, then this event is going to hold you back for quite a good time. Bringing you a complete emotional emersion, Mamma Mia will be a musically charging experience to your soul. To experience the thrill of the event, visitors can board a tube to the Piccadilly Underground. This area also has a great choice with accommodations. Look for an easy booking at hotels in Piccadilly Circus.

Event Date: Till 26th March 2011

Venue: Prince of Wales Theatre, Coventry Street, Soho, London, W1D 6AS

Move It London 2011

The city of London rocks, with its foray for dance and singing. Move It London is a dance competition, with the most passionate dancers taking part in it. Follow the lining up of the fashion shows, dance shows, dance styles and shows that relate to the fashion industry. Get lost in the moves of dances of various forms. Kensington Olympia is the closest tube station of the event, with a row of choice coming for your stay at hotels in Kensington Olympia.

Event Date: 10th – 13th March, 2011

Venue: Olympia Grand Hall, Hammersmith Road, London W14 8UX

St Patrick’s Day 2011

Sty Patrick’s day is the annual celebration of this city, which is more of a commemoration of the St Patrick. St Patrick is the most revered saint of London city, and his memory is commemorated with the parade which can be followed from Park Lane to the Hyde Park Corner and moving on to the Piccadilly, Regents Street and Trafalgar Square. Relish the tastes of the food and other tempting delicacies served during the parade. Tourists can be a part of this major celebration of London, by booking a hotel in Trafalgar Square, which will bring them an easy accessibility to the venue.

When: 13th – 20th March 2011

Venue: Hyde Park, Piccadilly, Regents Street and Trafalgar Square

Growing Your Own Business:

It is a perfect place for their traders to spend their valuable time, looking to multiply their funds. Improve your business prospects with the seminars, speeches, presentation and market knowledge of this event. Visitors will find an easy accessibility to this event through Kensington Olympia. Besides, it will be a good idea to lodge at hotels near Kensington Olympia Underground, from where it is easy to travel to this venue.

When: 18th -19th March 2011

Venue: Olympia National Hall, Hammersmith Road, London W14 8UX

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Are you feeling fed up with the long dreary winter and desperate to start to enjoy Spring? Do you want to get away from it all and enjoy some culture? Maybe a stay in the city of London will help you beat those winter blues and recharge your batteries in one of the most vibrant cities in the world. You can enjoy the many events staged at the Barbican and visiting the West End for shopping and theatre trips.

Independent travellers to London are often surprised at how easy it is to rent a fully furnished apartment for a short break in London. Apartments are available from periods of just 1 night upwards!

You can stay just 150 metres from the Barbican centre in a simple studio apartment with its own fully equipped kitchen and bathroom for well under a hundred pounds a night. Included in the price are linen, towels, broadband internet access, TV, HiFi, direct phone, in-room safe. You will have the flexibility of being able to prepare your own snacks and meals whilst enjoying your own private home from home in London.

The Barbican is Europe’s largest multi-arts and conference venue and presents a huge range of art, music, theatre, dance and educational events. It is also home to the world-renowned London Symphony Orchestra.

Offering an unparalleled programme of film festivals, the Barbican shows a whole host of movies from an eclectic mix of independent directors from around the world.

There are many superb concerts or events at the Barbican Centre. Leading musicians and soloists from all over the world in both classical and contemporary music perform regularly at the Barbican. In classical music, world-famous artists such as Cecilia Bartoli, Simon Rattle, the Vienna Philharmonic Orchestra, Evgeny Kissin, Maxim Vengerov, Alfred Brendel, Bernard Haitink, Mstislav Rostropovich, Midori, Amsterdam Concertgebouw Orchestra, Yo-Yo Ma have been enjoyed by visitors to the centre in recent times.

In contemporary music the best artists in jazz, country, folk, world, roots, rock, soul and contemporary classical music from around the world are proud to perform there.

The restaurants at the Barbican Centre are popular with visitors and serve an excellent selection of meals, both at lunchtime and in the evenings.

The Barbican is also the perfect location for business travellers to the City of London. Corporate executives on assignment in London enjoy living in the hub of the business and artistic centre of the city. Partners are often happy to come along and enjoy the arts, as well as having the opportunity to hop on the tube at nearby Barbican Station and travel in to the West End for shopping. Everyday life in London offers so much to the visitor with its pubs, olde English backstreets and amazing array of shops and quality restaurants.

One of London’s greatest landmarks within walking distance is the fabulous St Paul’s Cathedral. You can climb to the top and enjoy magnificent birds eye views of one of the most amazing cities in the world.

If you are a lover of Shakespeare you can visit the remarkable Globe Theatre nearby at Southwark which also offers an impressive calendar of events throughout the year which include theatrical performances and lovely concerts.

You can stroll along to St Katherine’s Dock and watch the fascinating comings and goings at the fabulous marina full of sailing boats whilst enjoying a meal in one of the many waterside restaurants.

Engineering enthusiasts love to visit Tower Bridge and watch as this fabulous old Victorian icon opens to allow tall ships to pass through on their way up the Thames. Again, you can enjoy stunning views along the river from its walkways. In recent years, it has become an impressive London venue and it is now even possible to get married on Tower Bridge!

Whatever your taste, a stay in the Barbican area of London will offer you excellent entertainment and sightseeing opportunities. As well as the arts and culture, you can enjoy fantastic shopping in Oxford Street and Regent Street with the West End just a short distance away on the tube.