Analytical discourse on the performance and compositional techniques of Hannatu Japhet Gani’s indigenous gospel songs

Abstract

Hannatu Japhet Ganni popularly known as Jukun Celine-Dion because of her sonorous voice texture and ability to carry her audience along during performance, is a gospel musician. She is believed to be a bridge between traditional Jukun and gospel music. Her compositional styles and performance practices are a fusion of her traditional musical and conversion experience in the mid-80s which she has demonstrated in her video and audio albums as well as performances in religious and social events in and outside her locality. Her consistency for the past thirty-nine years in demonstrating her cultural background in her presentation of musical creativity is the core issue we aim to analyze in this study. Through content analysis we set out to investigate compositional techniques inherent in two of her songs. Drawing from the indigenous idioms and elements engaged by Hannatu, as well as the lyrics of the theme songs of her two released albums, we examine the structural features of: i. melody, ii. harmony, iii. rhythm, iv. lyrics and v. form. Our findings reveal the musician’s engagement of the Jukun traditional vocal musical technique and instrumentation in creating a new music to spread the gospel of Christ.