ABSTRACT

Music does not exist in vacuum. Rather it influences and is influenced by a variety of factors within its sociopolitical and geographical context. As an element of culture, music connects people among whom it evolves. The association of music with social and ritual ceremonies has been observed to be central to African music by Akpabot (1986: 1). The association of the music culture with religious activities and festivals within a society makes the influence of religion on music almost inevitable. Mbiti (1980: 262) asserted that it is religion, more than anything else which colors the African's understanding of the universe and their empirical participation in that universe, making life a profoundly religious phenomenon. Agbo and Keke (2013: 259) also submitted that to say that music influences the religion of Africa or vice versa is merely an isomorphic statement because religion and music are two indivisible superstructures that constitute the culture of the Africans. Music derives strength from the culture that regulates its emergence, performance, patronage and continuity. This is so because, according to Blacking (1973: 60), music is a product of human behavior.

The Nigerian gospel musicians and the popular musicians operate within the same Transcultural field and are therefore both affected and influenced by the same realities of existence. These two equally influence each other in some ways that become manifested in their arts, acts and activities. The impact of popular culture on musical activities including gospel music can therefore not be ignored. This impact is evident in the use of media, the execution of gospel music as an art form greatly influenced by secular art especially music and fashion, and the sociopolitical and economic realities of the society. This chapter therefore examines the intersections of popular culture and the Nigerian gospel music with particular reference to areas of influence on each other.