AESTHETICS AND STYLISTICS OF SIGNATURE TUNES IN ÌYẸ̀RẸ̀-IFÁ

• Mistura Ayobami TABI-AGORO, Ph.D.

  Author

• ISHOLA Sauban Alade, Ph.D.

  Author

• Abiodun Oyesoji OYAGBENJO, Ph.D.

  Author

This study examines the aesthetic and stylistic functions of signature tunes in Ìyẹ̀rẹ̀-Ifá, a tonal chant sub-genre of Yorùbá oral poetry derived from Ifá verses. Signature tunes are conceptualised as recurrent, distinctive lyrical expressions that function as identity markers for performers, genres, and performance contexts. While earlier Yorùbá stylistic studies have variously described such expressions as introductory formulae, call tones, homage, or ì-fi-ara-ẹni-hàn, they have not been systematically theorised as autonomous stylistic features. Drawing on Yorùbá oral performance criticism, stylistics, and insights from Russian Formalism, particularly Eichenbaum’s notion of literaturnost this study positions signature tunes as a core component of oral texts alongside text, intra-text, and extra-text. Using purposively selected samples of Ìyẹ̀rẹ̀-Ifá performances from ritual, ceremonial, festive, and burial contexts, the study employs qualitative stylistic and contextual analysis to identify and classify patterns of signature tunes. Findings reveal that signature tunes in Ìyẹ̀rẹ̀-Ifá are indispensable aesthetic devices that perform multiple communicative roles, including performer identification, audience engagement, contextual signalling, emotional stimulation, transition management, and affirmation of artistic competence. Contrary to the prevailing view that such features are restricted to performance openings, the study demonstrates that signature tunes occur fluidly at initial, medial, and terminal stages of performance. The study further establishes that signature tunes are shaped by situational context such as festivals, funerals, ilẹ́kú rites, and competitive performances and may be personalised or communal, fixed or adaptive. Ultimately, the article argues that signature tunes constitute a defining stylistic criterion for distinguishing Ìyẹ̀rẹ̀-Ifá from Ifá recitation and other Yorùbá chants and also to establish another critical paradigm for appraising Yorùbá orature beyond Ìyẹ̀rẹ̀-Ifá. By foregrounding individuality, branding, and aesthetic innovation in oral performance, the study contributes to a deeper understanding of stylistic identity in Yorùbá orature and expands the analytical tools available for African oral literature studies.

1. ISHOLA Sauban Alade, Ph.D.

   ISHOLA Sauban Alade, Ph.D., is a lecturer at the Department of Yoruba, Tai Solarin Federal University of Education, Ìjagun-Ìjẹ̀bú. 

    

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