Project Abstract

Abstract
This research project explores the traditional Ebre music in Ibibio land, focusing on its function and importance within the community. The study aims to provide a comprehensive understanding of the role that Ebre music plays in Ibibio society, highlighting its significance in various cultural contexts. Through a combination of ethnographic research methods, including interviews, observations, and analysis of musical performances, the project delves into the historical roots and contemporary relevance of Ebre music. The research findings reveal that Ebre music serves multiple functions within the Ibibio community. Firstly, it is an integral part of social gatherings, ceremonies, and rituals, providing a soundtrack for important events such as weddings, funerals, and festivals. The rhythmic beats and melodic patterns of Ebre music create a sense of unity and belonging among community members, fostering social cohesion and collective identity. Furthermore, Ebre music serves as a form of communication, conveying messages, stories, and cultural values through its lyrics and melodies. The songs often contain narratives that reflect the history, beliefs, and worldview of the Ibibio people, preserving their heritage and passing down traditional knowledge to future generations. In this way, Ebre music plays a crucial role in cultural transmission and preservation, ensuring the continuity of Ibibio traditions. Moreover, the study highlights the aesthetic and artistic importance of Ebre music, emphasizing its unique blend of vocal harmonies, instrumental arrangements, and dance movements. The intricate rhythms and vocal techniques employed in Ebre music showcase the creativity and skill of Ibibio musicians, making it a source of pride and cultural expression for the community. Overall, this research project underscores the significance of Ebre music in Ibibio land, shedding light on its multifaceted functions and cultural importance. By examining the role of Ebre music in social, communicative, and artistic contexts, the study contributes to a deeper appreciation and understanding of the rich musical heritage of the Ibibio people. It also underscores the need to preserve and promote Ebre music as a vital component of Ibibio cultural identity and heritage.

Project Overview

INTRODUCTION

Ebre music is used for community entertainment and commercial purposes. It is performed both in the villages and in urban centres. Its instruments do not however include electronic equipment. It is performed essentially by the Ibibio women. Since it does not have elements of international or inter-ethnic musical characteristics, apart from the use of words and expressions, Ebre music is considered as Ibibio traditional music. In consonance with Blacking’s definition, it is a popularly known traditional music typology of the Ibibio.

Ruth Stone (2002:58) argues that a practical music-situation is an “Even as object” of ethnomusicological research study. Sharing her experience, she remarks: throughout my career, I have focused my research on the musical event. Here I have found a conceptual place where sound and behaviour are created, appreciated, and critically evaluated. There is great scope for study within this focus. We have argued that only few Ebre records are available, but live performance as practical music events formed the principal basis for this study and presented real conceptual experiences. Nssio Fiagbedzi (1989:47, 49) argues the theory and philosophy of theory in ethnomusicology, stating that:

Theory may be conceptualized as an abstractive view in  explanation of, and not merely descriptive of, a phenomenon.  As such, theory takes cognizance of bare facts from which it  differs and for which it accounts by relating them in a way that  reveals the nature or character of that which it is an explanation  of. Usually theory allows for further articulation, elaboration, modification, or specification (p47).