Background of the study
Semantic prosody refers to the affective or evaluative associations that words acquire through their frequent co-occurrence with other terms. In the Efik language, traditional musicians in Calabar often use semantic prosody to enhance the emotional impact of their performances. This study investigates how semantic prosody operates within Efik musical contexts, focusing on the selection and arrangement of words that evoke particular moods and cultural values (Idung, 2023). Analysis of song lyrics, performance recordings, and interviews with traditional musicians reveals that prosodic cues—such as collocations and repetitive structures—play a critical role in shaping listener perception. These patterns not only contribute to the aesthetic quality of the music but also reinforce cultural narratives and collective memory. By examining how semantic prosody is constructed and perceived, the research aims to shed light on the interplay between language, emotion, and music in Efik culture, thereby contributing to broader theories of figurative language and semantic cohesion (Effiong, 2024).
Statement of the problem
Although semantic prosody is recognized as a key feature in language, its specific role in Efik musical performances remains underexplored. Preliminary observations suggest that variations in prosodic patterns may lead to differing emotional interpretations, potentially affecting the transmission of cultural meaning. This study seeks to fill this gap by systematically analyzing semantic prosody in Efik music.
Objectives of the study
Research questions
Significance of the study
This study is significant as it deepens our understanding of the role of semantic prosody in shaping cultural and emotional expression in Efik music. Its findings will inform both linguistic theory and cultural preservation efforts, benefiting musicians, educators, and cultural practitioners.
Scope and limitations of the study
This study is limited to investigating semantic prosody in Efik language among traditional musicians in Calabar. It does not address other musical genres or linguistic contexts.
Definitions of terms
Chapter One: Introduction
1.1 Background of the Study
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Chapter One: Introduction
1.1 Background of the Study...