ỌLAOSEBÌKAN Oluwarotimi Oyeniyi was born on the 29th January, 1969. He attended Alafia Primary School and Ibadan Municipal Government Primary School 2, both in Mokola for his primary education and Oba Akinbiyi School 1 for secondary education. Rotimi started his musical career at the Sunday School of the Celestial Church of Christ, Mokola, Ibadan where …
ỌLAOSEBÌKAN Oluwarotimi Oyeniyi was born on the 29th January, 1969. He attended Alafia Primary School and Ibadan Municipal Government Primary School 2, both in Mokola for his primary education and Oba Akinbiyi School 1 for secondary education.
Rotimi started his musical career at the Sunday School of the Celestial Church of Christ, Mokola, Ibadan where he was one of the Choir boys playing some idiophonic instruments such as gong, clef, maracas and later graduated to lead voice singing.
In 1980, during the Adult Choir’s anniversary (‘Cantata’), Rotimi and some of his friends, both male and female, totaling ten (10) in number were promoted to the Adult Choir. It was in the choir that Rotimi had the opportunity to work closely with great musicians like Baba Tommy Oke (the then choirmaster), Baba Adetiran of blessed memory, Baba Remi Olabanji, Baba Bayo Adegboyega of blessed memory, Baba Balogun, Baba Olagunju of blessed memory and Baba and Mama Ashaolu (of the Adimula band). Rotimi’s show of talent made him become close to Baba Adetiran and he started getting close to him as an apprentice in Baba Adetiran’s Chamber Music School, Veterinary, Mokola, Ibadan. In the school, Rotimi had opportunity to practice on portative leg-winding organ all by himself. He later read some music books on the theory of music, which helped him in sight-reading and sight-playing.
In 1987, Celestial Church of Christ Central Choir was established and Baba Adetiran was appointed the Director of Music. The appointment made Baba Adetiran, who was then the organist of the Celestial Church of Christ, Army Barrack’s road, Mokola to go for rehearsals in Lagos every Friday to return on Sunday evening or Monday morning.
This made the organ at Mokola parish to lie fallow without any player. It then became an opportunity for Rotimi to mount the full-pedalled organ and became a little organist for the parish.
In 1988, having become satisfied with Rotimi’s dexterity on the organ, Baba Adetiran invited him to join the Central Choir in Lagos. As a member of the Central Choir, Rotimi became one of the organists of the choir and had the opportunity to train many members of the choir, who are spread all over the world. His hard work and loyalty to the Director of Music earned him the appellation of ‘Arole’ (heir) and the Deputy Director of Music. Given the foregoing, Baba Adetiran handed the coordination and leadership of the Music Department of the Celestial Church of Christ to Superior Evangelist Rotimi Olaosebikan. Rotimi was also a force in the correction and harmonization of Celestial Church of Christ hymns.
In 1989, with help from Baba Adetiran, Rotimi decided to study Music as a career, as he got admitted into the Department of Music Technology, The Polytechnic, Ibadan. He graduated at the Polytechnic, Ibadan with a distinction in Ordinary National Diploma. In 1992, he proceeded to the prestigious Obafemi Awolowo University for his first degree and graduated with 2nd Class (Upper division). In 2003, he started his Master’s programme in Music at the University of Ibadan and graduated in 2005. In 2019, he got his Ph.D degree from the University of Ibadan.
In 2004, Rotimi became a Part-time lecturer at the Department of Music Technology, the Polytechnic, Ibadan and became a full staff in 2006. He started as a Lecturer III and moved to the highest cadre of Chief Lecturer. He got appointed as the Head of Department in 2021, the position he still maintains till today.
Rotimi’s academic papers are:
Thesis/Dissertation:
Ọláòsebìkan, O.O. (2019). “Emergence and Development of Tungba Gospel Music in Ibadan, Nigeria”, unpublished Ph.D. Thesis, University of Ibadan.
Ọláòsebìkan, O.O. (2005).“Made in the Church Nigerian Musicians: A case study of Remi Olabanji, Akin Adebayo and Seyi Sholagbade of the Celestial Church of Christ”, unpublished M.A. Thesis, University of Ibadan.
Published Articles
Ọláòsebìkan,O.O. &Fadipe, D.O (2021). African Music Composition Series, Book 1. Ibadan: Sceptre Publishers Ltd.
Ọláòsebìkan, O.O., Faniyi, K.O. & Babatunde, H.M.(2021).“Music and the Challenges of Socio- Economic Inequalities in Nigeria: ‘The Small People’s Anthem’ by Segun Akinlolu as a Case Study”. East African Journal of Arts and Social Science, Vol 3 No. 1. Pp 121-127.
Ọláòsebìkan, O.O. & Adeleke, R.A.(2020).“Traditional Music as Agent of Information Dissemination in the Face of Covid-19: “Razaq Olayiwola’s Fidimole in Retrospect”. Journal of Music Education, No. 12. Pp. 67-78.
Ọláòsebìkan, O.O. (2020). “Tungba: A Socio-Religious Music”. Pan-African Journal of Humanities and Social Science (PAJHSS). Vol. 2. Issue 1. Pp. 187 – 199.
Fadipe,D.O.,Ọláòsebìkan, O.O. & Ologundudu, R.P.(2020). “Documentation of Performance Styles in Yoruba Dundun Drumming”. Pan-African Journal of Humanities and Social Science (PAJHSS). Vol. 2. Issue 1. Pp. 143 – 159.
Olaosebikan, O.O.,Gbadamosi, A.L. &Adeleke, R.A.“Music and the Challenges of Social
Class in Nigeria:Monday John’s ‘EyinTeRi Je’ In View”. Paper Presented at 1st Educative and ImpactfulWebinar Conferenceorganized by the Society of Music Educators in Nigeria (SOMEN). Held on 3rd of December,2020.
Ọláòsebìkan, O.O., Gbadamosi, A.L. & Babatunde, H.M.(2018).“New Trends in Nigerian Gospel Music”. Journal of Arts and Social Science (JASS),Federal College of Education, Osiele, Abeokuta. Vol. 9. No 1. Pp. 371 – 378.
Ọláòsebìkan, O.O. (2018). “‘Obirin ni mi’: Sola Allyson’s Eulogy of a Woman”, Akungba Journal of Linguistics and Literatures. No. 9 (Special Edition). Pp. 135-143.
Ọláòsebìkan, O.O. (2017). “From Church to Secular Music: A Case Study of Seyi Sholagbade” in (OJASS) Ondo Journal of Arts and Social sciences). Vol. 17. Pp. 87-97.
Ọláòsebìkan,O.O. (2017). Positive Moulding of Attitude of Children in Nigeria: Yoruba Traditional Music as as Agent in Musical Horizons inNigeria, a Festschrift for Daniel Chikpezie Christian Agu, Pp. 314-321.
Ọláòsebìkan,O.O.(2017).“Figurative Expressions in Nigerian Gospel as used in Segun Ogabi’s Ayaba”. Contribution in Music, Musicology and the Gospel in Nigeria. A Festschrift in honour of Samuel Olufemi Adedeji, Professor of Music Composition and Sacred Musicology. Femi Abiodun, O.I. Idamoyibo,OlurantiAdeogun, Charles Aluede, Michael Olatunji and Alvan- IkokuNwamara. (eds). A Publication of the Association of Nigerian Musicologists. Pp. 332-343.
Faniyi, K.O., Ọláòsebìkan, O.O. and Loko,O.O.(2016)“Recording Technology in Contemporary Nigeria: Connecting the Nigerian Youth and the Drive for Development and Sustainability” in Nigerian Music Review. Vol. 14. No. 1. Pp. 99-113.
Faniyi, K.O. and Ọláòsebìkan, O.O.(2016)”Philosophical Nexus Between Orthodox and Indigenized Church Musical Traditions: Wole Adetiran Example of the Celestial
Church of Christ Central Choir, Lagos.”, Revised Paperof (WAJMAE) West Africa Journal of Musical Arts Education.Vol. 3. No.12. Pp. 185-196.
Olaosebikan,O.O., Faniyi,K.O.and Loko, O. A., “Analytical Study of Selected Yoruba Agricultural Folk Songs in South Western Nigeria’. Paper Presented at the 2015 Africa Berlin International Conference at the Humboldt University Berlin, Germany, between 24th and 28th August, 2015. Theme: Agriculture and Healthcare: Challenges, Implications and Opportunities for Socio-Economic Development.
Ọláòsebìkan, O.O. (2014). “New Indigenous Popular Music Style: A Case Study of Sola Allyson’s Eledumare”, (The Beagle), An International Journal of Educational Practice. Vol. 7 (2013) & Vol. 8 (2014). Pp. 175 – 191.
Faniyi, K.O. and Ọláòsebìkan, O.O. (2011) “Revolutionary Changes in MusicRecording Technology in Nigeria”.(POLYCOM) Journal of the Faculty of Business and Communication Studies, The Polytechnic, Ibadan. Vol. 15, No. 2.Pp. 171-182.
Rotimi is a dramatic composer and his works include the following:
i. Ọláòsebìkan, O.O., “God’s Message”, an audio C.D on Message and hymns.
ii. Ọláòsebìkan, O.O., “Orin Ope fun Jehovah”, an accapella audio C.D. in praise of God.
iii. Ọláòsebìkan, O.O., “Happy Grand Pa”, a Creative Piano Piece.
iv. Ọláòsebìkan, O.O., “Sun and Cloud”, Creative Piano Piece.
v. Ọláòsebìkan, O.O.,“Ore Sa’rewas’IjoMimo, a Creative Composition for S.A.T.B.
vi. Ọláòsebìkan, O.O.,“OjoAgbara”, a Creative Composition (Arranged and harmonized for S.A.T.B).
vii. Ọláòsebìkan, O.O.,“Luli”, a Creative Composition (Arranged and harmonized for S.A.T.B).
viii. Ọláòsebìkan, O.O., “Olorun to da awon oke igbaani”, a Creative Composition (Arranged and harmonized for S.A.T.B).
ix. Ọláòsebìkan, O.O., “Atobiju l’Obawa”, a Creative Composition (Arranged and harmonized for S.A.T.B).
x. Ọláòsebìkan, O.O., “Dide je ka sise”, a Creative Composition (Arranged and harmonized for S.A.T.B).
xi. Ọláòsebìkan, O.O., “Adura mi a gba”, a Creative Composition (Arranged and harmonized for S.A.T.B).
xii. Olaosebikan, O.O., “Jesu Oluwa O ma se o”, a Creative Composition (Arranged, developed and harmonized for S.A.T.B)
xiii. Ọláòsebìkan, O.O., “Iwa a t’Esin”, a Creative Composition (Arranged and harmonized for S.A.T.B).
Rotimi Olaosebikan is a member of professional associations such as Association of Nigerian Musicologists (ANIM) and the Society of Music Educators in Nigeria (SOMEN)
Oluwarotimi Olaosebikan is happily married to Mrs. Bamidele Olaosebikan and the union is blessed with good children.
Superior Evangelist Kayode Ajala, M.P.I.C/C.C.C. Media/Saturday, 10th December, 2022.
