{"id":14671,"date":"2022-12-10T17:35:18","date_gmt":"2022-12-10T17:35:18","guid":{"rendered":"https:\/\/thecccworldwide.org\/old\/?p=14671"},"modified":"2022-12-10T22:18:54","modified_gmt":"2022-12-10T22:18:54","slug":"meet-superior-evangelist-oluwarotimi-oyeniyi-olaosebikan-director-of-music-c-c-c-worldwide","status":"publish","type":"post","link":"https:\/\/thecccworldwide.org\/old\/blog\/2022\/12\/10\/meet-superior-evangelist-oluwarotimi-oyeniyi-olaosebikan-director-of-music-c-c-c-worldwide\/","title":{"rendered":"MEET SUPERIOR EVANGELIST OLUWAROTIMI OYENIYI OLAOSEBIKAN, Director of Music, C.C.C. Worldwide."},"content":{"rendered":"

\"\"<\/p>\n

\u1ecc<\/strong>LAOSEB\u00ccKAN 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.<\/p>\n

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.<\/p>\n

\"\"<\/p>\n

In 1980, during the Adult Choir\u2019s anniversary (\u2018Cantata\u2019), 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\u2019s show of talent made him become close to Baba Adetiran and he started getting close to him as an apprentice in Baba Adetiran\u2019s 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.<\/p>\n

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\u2019s road, Mokola to go for rehearsals in Lagos every Friday to return on Sunday evening or Monday morning.<\/p>\n

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.<\/p>\n

\"\"<\/p>\n

In 1988, having become satisfied with Rotimi\u2019s 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 \u2018Arole\u2019 (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.<\/p>\n

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\u2019s 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.<\/p>\n

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.<\/p>\n

Rotimi\u2019s academic papers are:<\/strong><\/p>\n

Thesis\/Dissertation:<\/strong><\/em><\/p>\n

\u1eccl\u00e1\u00f2seb\u00eckan, O.O. (2019). \u201cEmergence and Development of Tungba Gospel Music in Ibadan,\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 Nigeria\u201d, unpublished Ph.D. Thesis, University of Ibadan.
\n\u1eccl\u00e1\u00f2seb\u00eckan, O.O. (2005).\u201cMade in the Church Nigerian Musicians: A case study of Remi Olabanji,\u00a0\u00a0\u00a0 Akin Adebayo and Seyi Sholagbade of the Celestial Church of Christ\u201d, unpublished M.A. \u00a0\u00a0\u00a0 Thesis, University of Ibadan.
\nPublished Articles<\/p>\n

\u1eccl\u00e1\u00f2seb\u00eckan,O.O. &Fadipe, D.O (2021). African Music Composition Series, Book 1. Ibadan:\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 Sceptre Publishers Ltd.<\/p>\n

\u1eccl\u00e1\u00f2seb\u00eckan, O.O., Faniyi, K.O. & Babatunde, H.M.(2021).\u201cMusic and the Challenges of Socio-\u00a0\u00a0\u00a0 Economic Inequalities in Nigeria: \u2018The Small People\u2019s Anthem\u2019 by Segun Akinlolu as a Case\u00a0\u00a0\u00a0 Study\u201d. East African Journal of Arts and Social Science, Vol 3 No. 1. Pp 121-127.<\/p>\n

\u1eccl\u00e1\u00f2seb\u00eckan, O.O. & Adeleke, R.A.(2020).\u201cTraditional Music as Agent of Information\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 Dissemination in the Face of Covid-19: \u201cRazaq Olayiwola\u2019s Fidimole in Retrospect\u201d. Journal\u00a0\u00a0\u00a0 of Music Education, No. 12. Pp. 67-78.<\/p>\n

\u1eccl\u00e1\u00f2seb\u00eckan, O.O. (2020). \u201cTungba: A Socio-Religious Music\u201d. Pan-African Journal of Humanities and Social Science (PAJHSS). Vol. 2. Issue 1. Pp. 187 \u2013 199.<\/p>\n

Fadipe,D.O.,\u1eccl\u00e1\u00f2seb\u00eckan, O.O. & Ologundudu, R.P.(2020). \u201cDocumentation of Performance Styles in Yoruba Dundun Drumming\u201d. Pan-African Journal of Humanities and Social Science\u00a0\u00a0\u00a0 (PAJHSS). Vol. 2. Issue 1. Pp. 143 \u2013 159.<\/p>\n

Olaosebikan, O.O.,Gbadamosi, A.L. &Adeleke, R.A.\u201cMusic and the Challenges of Social<\/p>\n

Class \u00a0\u00a0\u00a0 in Nigeria:Monday John\u2019s \u2018EyinTeRi Je\u2019 In View\u201d. Paper Presented at 1st Educative and\u00a0\u00a0\u00a0 ImpactfulWebinar Conferenceorganized by the Society of Music Educators in Nigeria\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 (SOMEN). Held on 3rd of December,2020.<\/p>\n

\u1eccl\u00e1\u00f2seb\u00eckan, O.O., Gbadamosi, A.L. & Babatunde, H.M.(2018).\u201cNew Trends in Nigerian Gospel\u00a0\u00a0\u00a0 Music\u201d. Journal of Arts and Social Science (JASS),Federal College of Education, Osiele,\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 Abeokuta. Vol. 9. No 1. Pp. 371 – 378.<\/p>\n

\u1eccl\u00e1\u00f2seb\u00eckan, O.O. (2018). \u201c\u2018Obirin ni mi\u2019: Sola Allyson\u2019s Eulogy of a Woman\u201d, Akungba Journal\u00a0\u00a0\u00a0 of Linguistics and Literatures. No. 9 (Special Edition). Pp. 135-143.<\/p>\n

\u1eccl\u00e1\u00f2seb\u00eckan, O.O. (2017). \u201cFrom Church to Secular Music: A Case Study of Seyi Sholagbade\u201d in \u00a0\u00a0\u00a0 (OJASS) Ondo Journal of Arts and Social sciences). Vol. 17. Pp. 87-97.
\n\u1eccl\u00e1\u00f2seb\u00eckan,O.O. (2017). Positive Moulding of Attitude of Children in Nigeria: Yoruba Traditional\u00a0\u00a0\u00a0 Music as as Agent in Musical Horizons inNigeria, a Festschrift for Daniel Chikpezie Christian\u00a0\u00a0\u00a0 Agu, Pp. 314-321.
\n\u1eccl\u00e1\u00f2seb\u00eckan,O.O.(2017).\u201cFigurative Expressions in Nigerian Gospel as used in Segun Ogabi\u2019s\u00a0\u00a0\u00a0 Ayaba\u201d. Contribution in Music, Musicology and the Gospel in Nigeria. A Festschrift in honour\u00a0\u00a0\u00a0 of Samuel Olufemi Adedeji,\u00a0\u00a0\u00a0 Professor of Music Composition and Sacred Musicology. Femi\u00a0\u00a0\u00a0 Abiodun, O.I. Idamoyibo,OlurantiAdeogun, Charles Aluede, Michael Olatunji and Alvan-\u00a0\u00a0\u00a0 IkokuNwamara. (eds). A Publication of the Association of Nigerian Musicologists. Pp. 332-343.<\/p>\n

Faniyi, K.O., \u1eccl\u00e1\u00f2seb\u00eckan, O.O. and Loko,O.O.(2016)\u201cRecording Technology in Contemporary\u00a0\u00a0\u00a0 Nigeria: Connecting the Nigerian Youth and the Drive for Development and Sustainability\u201d in\u00a0\u00a0\u00a0 Nigerian Music Review. Vol.\u00a0 14. No. 1. Pp. 99-113.<\/p>\n

Faniyi, K.O. and \u1eccl\u00e1\u00f2seb\u00eckan, O.O.(2016)”Philosophical Nexus Between Orthodox and\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 Indigenized Church Musical Traditions: Wole Adetiran Example of the Celestial<\/p>\n

Church of\u00a0\u00a0\u00a0 Christ Central Choir, Lagos.”, Revised Paperof (WAJMAE) West Africa Journal of\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 Musical Arts Education.Vol. 3. No.12. Pp. 185-196.<\/p>\n

Olaosebikan,O.O., Faniyi,K.O.and Loko, O. A., \u201cAnalytical Study of\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Selected Yoruba Agricultural Folk Songs in South Western Nigeria\u2019. 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.<\/p>\n

\u1eccl\u00e1\u00f2seb\u00eckan, O.O. (2014). \u201cNew Indigenous Popular Music Style: A Case Study of Sola Allyson\u2019s\u00a0\u00a0\u00a0 Eledumare\u201d, (The Beagle), An International Journal of Educational Practice. Vol. 7 (2013) &\u00a0\u00a0\u00a0 Vol. 8 (2014). Pp. 175 \u2013 191.<\/p>\n

Faniyi, K.O. and \u1eccl\u00e1\u00f2seb\u00eckan, O.O. (2011) \u201cRevolutionary Changes in MusicRecording\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0 Technology in Nigeria\u201d.(POLYCOM) Journal of the Faculty of Business and Communication\u00a0\u00a0\u00a0 Studies, The Polytechnic, Ibadan. Vol. 15, No. 2.Pp. 171-182.<\/p>\n

\"\"<\/p>\n

Rotimi is a dramatic composer and his works include the following:<\/strong><\/p>\n

i. \u00a0 \u1eccl\u00e1\u00f2seb\u00eckan, O.O., “God\u2019s Message”, an audio C.D on Message and hymns.
\nii.\u00a0 \u1eccl\u00e1\u00f2seb\u00eckan, O.O., “Orin Ope fun Jehovah”, an accapella audio C.D. in praise of God.
\niii. \u1eccl\u00e1\u00f2seb\u00eckan, O.O., “Happy Grand Pa”, a Creative Piano Piece.
\niv. \u1eccl\u00e1\u00f2seb\u00eckan, O.O., “Sun and Cloud”, Creative Piano Piece.
\nv. \u1eccl\u00e1\u00f2seb\u00eckan, O.O.,\u201cOre Sa\u2019rewas\u2019IjoMimo, a Creative Composition for S.A.T.B.
\nvi. \u1eccl\u00e1\u00f2seb\u00eckan, O.O.,\u201cOjoAgbara\u201d, a Creative Composition (Arranged and harmonized for S.A.T.B).<\/p>\n

vii. \u1eccl\u00e1\u00f2seb\u00eckan, O.O.,\u201cLuli\u201d, a Creative Composition (Arranged and harmonized for S.A.T.B).
\nviii. \u1eccl\u00e1\u00f2seb\u00eckan, O.O., \u201cOlorun to da awon oke igbaani\u201d, a Creative Composition (Arranged and\u00a0\u00a0\u00a0 harmonized for S.A.T.B).
\nix. \u1eccl\u00e1\u00f2seb\u00eckan, O.O., \u201cAtobiju l\u2019Obawa\u201d, a Creative Composition (Arranged and harmonized\u00a0\u00a0\u00a0 for S.A.T.B).
\nx. \u1eccl\u00e1\u00f2seb\u00eckan, O.O., \u201cDide je ka sise\u201d, a Creative Composition (Arranged and harmonized for\u00a0\u00a0\u00a0 S.A.T.B).
\nxi. \u1eccl\u00e1\u00f2seb\u00eckan, O.O., \u201cAdura mi a gba\u201d, a Creative Composition (Arranged and harmonized for\u00a0\u00a0\u00a0 S.A.T.B).<\/p>\n

xii. Olaosebikan, O.O., \u201cJesu Oluwa O ma se o\u201d, a Creative Composition (Arranged, developed and harmonized for S.A.T.B)
\nxiii. \u1eccl\u00e1\u00f2seb\u00eckan, O.O., \u201cIwa a t\u2019Esin\u201d, a Creative Composition (Arranged and harmonized for\u00a0\u00a0\u00a0 S.A.T.B).<\/p>\n

Rotimi Olaosebikan is a member of professional associations such as Association of Nigerian Musicologists (ANIM) and the Society of Music Educators in Nigeria (SOMEN)
\nOluwarotimi Olaosebikan is happily married to Mrs. Bamidele Olaosebikan and the union is blessed with good children.<\/p>\n

 <\/p>\n

Superior Evangelist Kayode Ajala, M.P.I.C\/C.C.C. Media\/Saturday, 10th December, 2022.<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u1eccLAOSEB\u00ccKAN 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 […]<\/p>\n","protected":false},"author":2,"featured_media":14712,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-14671","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pastoral-message"],"_links":{"self":[{"href":"https:\/\/thecccworldwide.org\/old\/wp-json\/wp\/v2\/posts\/14671"}],"collection":[{"href":"https:\/\/thecccworldwide.org\/old\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/thecccworldwide.org\/old\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/thecccworldwide.org\/old\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/thecccworldwide.org\/old\/wp-json\/wp\/v2\/comments?post=14671"}],"version-history":[{"count":0,"href":"https:\/\/thecccworldwide.org\/old\/wp-json\/wp\/v2\/posts\/14671\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/thecccworldwide.org\/old\/wp-json\/wp\/v2\/media\/14712"}],"wp:attachment":[{"href":"https:\/\/thecccworldwide.org\/old\/wp-json\/wp\/v2\/media?parent=14671"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thecccworldwide.org\/old\/wp-json\/wp\/v2\/categories?post=14671"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/thecccworldwide.org\/old\/wp-json\/wp\/v2\/tags?post=14671"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}