ỌMỌ LAWORAN ERE

Author: Wole Aro

Musical Analysis

The final scene in the opera entitled “Iyunade” captures one’s offspring as the true essence of
life, a common belief among individuals in Yorubaland. It was initially composed in 2016 as
the final scene of the opera but was later adapted for piano accompaniment and mezzo-soprano solo in 2018. According to the libretto, this was sung by a certain Iya Ọsun (Ọsun priestess) named Ọsunbunmi with the mezzo-soprano vocal range. The vocal number includes a recitation from the first measure to the ninth measure, and an aria starts from there to the end. In all, the piece extols the power of Ọsun, the Yoruba goddess of fertility, and re-echoes the credibility of one’s progeny.

The composition was based on diatonic harmony, which majorly reflects styles from the Common Practice musical era. Some devices used to craft this piece include flowery notes as made prominent in the bass line of measures 14b – 17, m48 – 50, and m55b – 58. Both ascending and descending sequences were used in measures 11 – 14a and m39 – 44, respectively. Other devices include call and response between the voice and the piano
accompaniment. Repetition and modulation were used to emphasise the main idea of the piece. Basically, the left hand of the piano accompaniment was crafted mostly to imitate the voice.

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Author

Wole Aro