Abstract
Urhobo/Isoko musicology, when deconstructed, opens the reader to a distinct brand with identifiers that help them negotiate an identity, and provides a unifying mien of the visible and invisible worlds that enthusiasts live in. In doing this, the chapter interrogates several musical texts and concludes that it is not a well-defined brand of musicology, as a result of certain constraining cultural nuances, but a salient identity negotiator that resonates among the adherent and stakeholders and has come to be seen as a brand. It arrived at this conclusion after analysing texts from semi-informal interactions with several groups of persons and deconstructed documents into inherent themes. While adherence to some of the musical/cultural texts helped in negotiating identity, especially as canvassed and mirrored through the brand identity prism and identity negotiation theories, thus entrenching the paradigm of normalization, a significant other point is the directions of contradictions occasioned by the dire need to create newer version of musicology that rend to melt several musical genre and tradition into one.
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Obukoadata, P.O. (2022). Thematic Deconstructions of Urhobo/Isoko Musicology and Brand Identity Negotiation, Normalization and Contradictions: Discourse Narrative. In: Salawu, A., Fadipe, I.A. (eds) Indigenous African Popular Music, Volume 1. Pop Music, Culture and Identity. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-97884-6_9
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