An Ethnomusicological Studies of Palace Rhythms in the Palace of the Olubadan of Ibadan Land

Abstract

Southwestern Nigerian Yorùbá musical traditions feature distinctive drum rhythms shaped by history, acoustics, and social function. Using Alan Merriam’s tripartite model linking sound, behavior, and concepts, this study examines the dùndún ensemble, a central musical institution in Yorùbá monarchical culture. In the Olúbàdàn’s palace, a specific rhythmic pairing of dùndún and sẹ̀kẹ̀rẹ̀-ajéoperates as a key symbol of royal authority and has developed into a recognizable style used for both social and ritual purposes. Palace musicians, highly skilled performers devoted to the royal lineage, improvise extensively and preserve genealogical knowledge through performance. Despite this rich heritage, palace rhythms rarely appear in popular recordings and are increasingly at risk of fading from public consciousness. Through ethnomusicological and analytical methods, this study explores the musical structure, performance practice, and socio-political significance of the dùndún–sẹ̀kẹ̀rẹ̀ensemble. Interviews with palace musicians reveal tensions in cultural perception, particularly the rejection of palace rhythms in churches due to their ritual associations. Findings affirm that these diverse rhythmic traditions remain vital to royal identity. The study concludes by advocating broader acceptance, cultural sustainability, and improved recognition and welfare for palace musicians across Nigeria.