#5 Appraisal of the Causeless Cause Concept in the Ecosystem as Sung by Tope Alabi in Yes and Amen Track
UDC:
Received: Sep 03, 2025
Reviewed: Nov 22, 2025
Accepted: Jan 22, 2026
#5 Appraisal of the Causeless Cause Concept in the Ecosystem as Sung by Tope Alabi in 'Yes and Amen' Track
Citation: Daramola, Oyedeji Tolulope and Olusegun Stephen Titus. 2026. "Appraisal of the Causeless Cause Concept in the Ecosystem as Sung by Tope Alabi in 'Yes and Amen' Track." Accelerando: Belgrade Journal of Music and Dance 11:5
Abstract
Tope Alabi's musical masterpiece "Yes and Amen" delves into profound themes, including the concept of the Causeless Cause within the ecosystem. This paper conducts a detailed analysis of the intricate interplay between the Causeless Cause and the ecosystem as portrayed in Alabi's composition. The qualitative research employs secondary data collection which are recorded tapes on YouTube, Facebook and compact discs. Also sourced are journal articles, television programs and other online sources. Through a multidisciplinary approach drawing from theology, philosophy, and environmental science, the study explores the intrinsic connection between the Causeless Cause, often associated with divine providence, and the intricate balance of the ecosystem. By dissecting Alabi's lyrical content, instrumentation, and vocal delivery, this paper uncovers layers of meaning that shed light on the harmonious relationship between the unseen force of the Causeless Cause and the tangible manifestations within the ecosystem. Furthermore, the paper examines the implications of acknowledging and embracing the Causeless Cause in fostering a deeper understanding and reverence for the interconnectedness of all living beings and the natural world. Ultimately, this analysis contributes to a more comprehensive appreciation of the spiritual and ecological dimensions embedded within Tope Alabi's "Yes and Amen" musical track.
ecology, theology, causeless-cause, intrinsic connection, ecosystem, nigerian gospel art music
Background of the Causeless Cause Concept
In classical thought, scholars and academic practitioners made great efforts to comprehensively grasp the vastness of the world through numerous phenomena that appeared to be inexplicable. These illustrious individuals firmly held the belief that the celestial realm exerted meticulous control over the entire universe, ensuring its flawless operation and protecting it from any form of corruption or disharmony. Nonetheless, despite this unerring perfection, they also acknowledged the undeniable presence of negative repercussions that persisted. To make sense of this apparent paradox, they ingeniously introduced the intriguing notion of a 'causeless cause' which, according to their profound insight, uniquely guided human cognition and bestowed upon it an invaluable diversity that permeated every facet of human existence with a wondrous intricacy (Oldfield 2022; Bexell et al. 2023; Joffe & Elliott 2023).
Consequently, this article is out to explore these facts as stated above in a careful but critical examination of the belief of the writer of “Yes and Amen” track. This is a popular song of Nigerian gospel art music by Patricia Temitope Babayode Alabi, the writer of the song and the performer, being known as Tope Alabi and so fondly called.
Tope Alabi: The Artist and her Work
Tope Alabi, the remarkable and immensely talented artist, possesses a wealth of experiences that she skillfully portrays in her creative works. Her devotion to the gospel, deep reputation, and seemingly outlandish persuasion make her an artist that stands above the rest. With an unwavering commitment to addressing social issues, Tope Alabi uses her talents as a songwriter, singer, and actress to produce outstanding pieces that resonate with a diverse range of listeners.
Through her unique combination of faith, art, and culture, Tope Alabi's works transcend boundaries and captivate the hearts of her audience. She possesses a remarkable gift for singing the gospel, a divine talent believed to be bestowed upon her by God Himself. With this gift, she not only offers melodic harmonies that soothe the soul but also initiates transformative change within society, families, organizations, and even nations. Her music brings forth a sense of peace, relaxation, and overall well-being to all who hear it. Both in her home country of Nigeria and abroad, Tope Alabi is revered and admired as a truly exceptional artist. Her superlative talent resonates with both the young and old, garnering her an expansive and devoted fanbase. Through her music, she not only entertains but also imparts valuable wisdom and guidance.
Tope Alabi provides insightful hints on how to fulfill certain desires, offers heartfelt advice, and enlightens her audience with profound teachings. This, in turn, empowers her listeners, allowing them to achieve personal fulfillment and prosperity. Tope Alabi's undeniable charisma extends beyond her musical prowess. She generously bestows her amiable guests with instructive counsel, brightening their lives with her warm presence. From her melodic voice to her captivating performances, she leaves a lasting impact on all those fortunate enough to witness her artistry. In conclusion, Tope Alabi's extraordinary talent, unwavering devotion to the gospel, and dedication to addressing social issues make her a true luminary in the world of art. Her music serves as a beacon of hope, bringing joy and inspiration to countless lives. Through her remarkable gifts, she continues to touch the hearts of diverse listeners, leading them towards a path of fulfillment and prosperity.
The Biography
This goes a long way to showcase Alabi’s relevance in the life of current Christians and churches at large. Her songs are dynamic, and every church listens, sings, and enjoys them during service. Evidently, an admirer can transform his or her prayer point to be included during the church prayer series. Children and grandmothers attune their singing, which makes their generation acquainted.
Her songs are an inspiration and an indispensable adornment. It is on this note that she has been able to popularize and hymn large in the Nigerian music industry with a remembrance of heavy and holy influences from Four Square Gospel Church, Alagomeji, Lagos, where she got reborn and homestead. The choice of a blend of Yoruba language with familiar idioms and Nassally indigenous rhythm contemporary gospel messages and now a spoken word preacher will forever remain a yardstick in her futuristic, spiritual, and vocational fulfillment.
Mrs. Tope Babayode Alabi is a renowned Nigerian prolific Yoruba-born gospel singer who is popularly known as Ore ti o common, Agbara Nla, Imole De. She was born on the 27th October 1970 in Lagos to Pa Joseph Akinyele Obayomi and Madam Agnes Kehinde Obayomi. Brought up by a Muslim father and a Christian mother, Alabi was exposed to Islamic and Christian songs early in her life. She also took to music at her tender stage at age four. Her mother was the one who introduced her to the Church where religious values guided and molded her steps in joining the church's department of music. Her foundation was built on solid rock by the Lord in her youthful days.
She grew up in an environment in which music was the norm and not the exception. There is no doubt that Alabi has exhibited a unique music style in her singing prowess. Moreover, her dramatic stage performance and sizzling blend of a Native Yoruba tongue combined with an infusion of African dance appeal to every age, race, tribe, creed, and parochial affiliation. Her genre of gospel music is similar to opera in Yoruba tone with a rhetorical touch akin to the Socratic method, such that every verse and stanza of her song poses a curious question with a biblical quotation in answer (Ayorinde & Ajose 2022; Abolaji 2024).
Analysis of 'Yes and Amen' Track
The track, which is about the most popular of the entire album, in the original YouTube patent label (p) 2018 Gospel Vibez Ltd, has a total length of 8.03 minutes all inclusive. It already has 3,900 likes with 716,886 views as at the time of writing this article and is still counting.
General Textual Narratives
Tope Alabi, a highly recognized and revered gospel singer hailing from the vibrant nation of Nigeria, has embarked upon a profound exploration that delves deeply into the mesmerizing complexities ensconced within the vast and awe-inspiring grand Ecosystem. With utmost precision and unwavering dedication, she fearlessly traverses the intricate depths of this enthralling tapestry, relentlessly questioning the very essence of definition and adamantly refusing to be confined by the restricting boundaries that naively attempt to portray and encapsulate such an overwhelmingly profound concept.
Her celestial hymn, aptly titled "Yes and Amen," harmoniously resonates and echoes throughout the celestial realm, expertly performed with an unparalleled finesse that enraptures the souls of all who are fortunate enough to bear witness. However, it transcends mere melodious beauty and reverberates with an intense fervor, fervently exalting and showering praises upon the Almighty, the omnipotent and benevolent overseer who governs each and every facet of life without any constraints or limitations.
This Divine Entity, in all His boundless glory, graciously permits us, mere mortals, to actively partake in the very essence of existence itself, allowing us to revel in the infinite blessings that abound within our earthly realm. With an unrivaled supremacy that towers above all else, this Supreme Being stands resolute and impervious to our countless pleas and supplications. He reigns as the ultimate and unwavering authority, bestowing His divine wisdom and power upon the world without falter or fail.
And yet, despite His prominence and unassailable magnificence, we, like the age-old symbol of unending yearning known as the agbalagba, and akin to the unwavering and steadfast Abuja Central Mosque, persistently seek a profound and transformative connection to the hallowed and transcendent realm of the Divine. Through our unwavering devotion and ceaseless pursuit, we strive to bridge the metaphorical chasm that separates us from this celestial domain, yearning to bask in the ethereal radiance that emanates from the Divine Presence.
It is generally said that one can't give what one doesn't have. The concept of causality is one of the ancient fundamental themes. Every community is known for one thing or another. Is the word, community a misnomer by the model of the ghost from Shakespeare? It has a complex meaning that makes it highly negotiable in all of the societies. The question is: Do we value adulation and respond to ethical demands of other species apart from us which contributed to the contemporary 'Yes and Amen' Track? Some communities in their world have stages in their existence. Is our ecosystem in stages of existence with Tope Alabi delving to appraise the causeless cause? The track, ‘Yes and Amen’ works on 'a moment' without specific consideration of a defined theory of the long run.
Textual analysis
The general overview of the track suggests a combination of both strophic and through composed textual/poetic form. While the verse/refrain appearance is constant, the individual verse operates in varying lengths of syllabic strength thereby making every verse unique in itself.
The track starts with a short epilogue of about five short lines (0.25 – 0.49) followed immediately by the central chorus five relatively longer lines with some ad lib interjections (0.5. – 1.12) which occurred three consistent times (0.5sec., 1.56sec., 3.00sec) in the track.
Lyrics: Patricia Temitope Alabi
Verse
| Original (Yoruba) | Translation (English) |
|---|---|
| Amin Ase ida a lamo o | Amen; the authority of creation You are known all around |
| Eni ti o ni a padanu | He who doesn't have will lose |
| Iba o to to olu Imo o | Reverence to the all-knowing One |
| Eni ti o ni o, ko ni nkankan o | He who doesn't have You has nothing |
| Amin aseda | Amen, the Maker |
Chorus
| Original (Yoruba) | Translation (English) |
|---|---|
| Eni ti o ni o, ko ni nkankan o | He who doesn't have You has nothing |
| Eni ti o ni o, ko ni nkankan | He who doesn't have You has nothing |
| Ko ni nkankan | He has nothing |
| Eni ti o ni o, ko ni nkankan o | He who doesn't have You has nothing |
| Oooooooo | Oooooooo |
| Eni ti o ni o, ko ni nkankan | He who doesn't have You has nothing |
| E ko ni nkankan o | Sure has nothing |
Verse
| Original (Yoruba) | Translation (English) |
|---|---|
| Mo wa ‘ri foba to ni dida aiye eeee | I salute the King who owns the making of the universe |
| Iba Re ma re e, oni gbede orun | Here's Your reverence, the heavens’ fabricator |
| Iwo to ni gbogbo aiye ni ikawo | You own the entire universe in Your hands |
| Bo ti doyi kato | As extensively rounded as it is |
| Iba Onimo to ga ju ee | Reverence to the Most Wise One |
| Baba ni baba nse | You are the father of all indeed |
| Amin ase ida mo gbe ba fun | Amen, the Maker I salute You |
Chorus
| Original (Yoruba) | Translation (English) |
|---|---|
| Eni ti o ni o ko ni nkankan o | He who doesn't have You has nothing |
| E ma ni penre labo | He has nothing in his coffers |
| Eni ti o ni o, ko ni nkankan | He who doesn't have You has nothing |
| Ko ni kini nkan lagbon | He has nothing in his basket |
| Eni ti o ni o, ko ni nkankan o | He who doesn't have You has nothing |
| O tan fun laiye lorun o | He is doomed on earth and in heaven |
| Eni ti o ni o Ee | He who doesn't have You |
| Ko ni nkankan | He has nothing |
Verse
| Original (Yoruba) | Translation (English) |
|---|---|
| O da okun, O da osa | He made the seas and the rivers |
| Alara to fi omi se oso | The Wonderful who creates beauty with waters |
| Iwo to mo ibi eja gba do odo | You own the secret of how fishes emerged in the seas |
| Majemu to bu ‘yo ja okun | The Covenant behind the saltiness of the seas |
| Iyanrin a-te-ka aiye | The only one soil mashed around the whole world |
| O da okunkun biri mu | He created thick darkness |
| Oga imole oo | The Master of light |
| Oju orun o ni ilekun oo | The firmaments of Heaven has no door |
| Ogbe bi mejeeji, lai rin irin ajo | He lives in the two domains without going on a journey |
| O mu eda gba inu eda waiye | He made human travel through human to this world |
| Ibi emi ngba lo ba, eni kan o mo | No one knows the return path of a dying soul |
| Ajulo o eni ti o wa o | The Most Senior ooo, he who doesn't seek You |
| Ko le mo nkankan | Cannot know anything |
| Eni ti o wa . . . ke o | He who doesn't seek Him |
Chorus
| Original (Yoruba) | Translation (English) |
|---|---|
| Eni ti o ni o, ko ni nkankan o | He who doesn't have You has nothing |
| Ko ri nkankan o o | He sees nothing |
| Eni ti o ni o, ko ni nkankan | He who doesn't have You has nothing |
| Afoju san ju oni to hun lo mo gba | A blind is better than such a one |
| Eni ti o ni o, ko ni nkankan | He who doesn't have You has nothing |
| Ee | Ee |
| Eni ti o ni o, ko ni nkankan | He who doesn't have You has nothing |
| Eee | Eee |
Verse
| Original (Yoruba) | Translation (English) |
|---|---|
| Majemu alai lepin n l’O je | You are the Unbreakable covenant |
| Ijinle alaile tu wo | The unfathomable depth of mystery |
| Irawo nyo lailai l’onka… beni | The uncountable shining star (yes) |
| Osupa nse atokun to ba dale… beni o | The moon brightens up the night (o yes) |
| Ibi gbogbo la n ti mi ri… beni | Visible everywhere (yes) |
| O tun lo fara da orun saiye… beni o | He wonderfully crafted the sun with the earth (o yes) |
| O se ojo, O tun s’oda e mo… beni | He made the rain and the weathers (yes) |
| O se ‘kan bi oye, O tun sotutu… beni o | One like the harmattan and the Cold (o yes) |
| Eranko Igbo won lo sua… beni | Animals, so countless in the bush (yes) |
| Eweko, ewebe, igi iyen o se sawa ri tan | Plants, vegetables, trees are numerous |
| Eni ti o r’ise E, ko ri nkankan o | He who doesn't see Your work sees nothing |
| Eni ti o r’ise E, ko ri nkan | He who doesn't see Your work sees nothing |
Chorus
| Original (Yoruba) | Translation (English) |
|---|---|
| Eni ti o ri se e, ko ri nkankan | He who doesn't see Your work sees nothing |
| Koda, ko ri ‘ra e pa beni | Of a truth, he doesn't see himself one jot, o yes |
| Eni ti o ri se e, ko ri nkankan o | He who doesn't see Your work sees nothing |
| Ooo | Oh |
| Eni ti o ri se e, ko ri nkankan… | He who doesn't see Your work sees nothing |
Verse
| Original (Yoruba) | Translation (English) |
|---|---|
| Ose mi da bi Oun, opin mi ni ipin | He made me like Himself, He gave me a destiny |
| Ti ko Jo ti eni keji | One, so unique in itself |
| Mi o la le hu, emi ni ami aseda latorun | I don’t exist by chance, I’m the evidence of the heavenly maker |
| Adagbeyin ni mi o wa fi mi joba | I’m created last but made me king |
| Ohun gbogbo ti O ti ko da | Above all He earlier created |
| O da mi, O fun mi ni re | He created me, gave me fortunes |
| Emi ni beeni, ase Olodumare ni | I am the Yes, evidence of the Almighty |
| Amin lohun, emi l’Amin | He's the Amen, I'm the mark |
| Ayanmo ogo, Ogun mi ni | The glorious destiny, It is my inheritance |
| Eda emi lo fi se ranse mi | Spiritual creatures run errands for me |
| Akori Iran mi, oju ogo re ni | My first vision is His glorious face |
Verse
| Original (Yoruba) | Translation (English) |
|---|---|
| Mo ni imi ye re ninu | I have His breath inside of me |
| Eni o ri mi, ko ri nkankan | He who doesn't see me sees nothing |
| Eee Eni ti o ri mi | Eee he who doesn't see me |
| Ko ri nkankan | He has nothing |
Verse
| Original (Yoruba) | Translation (English) |
|---|---|
| Eni ti o ri mi | He who doesn't see me |
| Ko rise olorun wo | He doesn't see God's work |
| E Eni ti o ri mi ke, ko ri nkan | He who hasn't seen me hasn't seen anything |
| Eni ti o ri mi | He who doesn't see me |
| Ko ri nkankan o | Sees nothing |
| E o foju | O! he is blind |
| Eni ti o ri mi, ko rise olorun wo | He who hasn’t seen me, hasn’t seen God’s work |
| Ko ri olodumare, O da mi bi ohun ni | He doesn't see God, He created me in His image |
| Eni ti o ri mi, ko ri nkankan | He who doesn't see me sees nothing |
Chorus
| Original (Yoruba) | Translation (English) |
|---|---|
| Eni ti o ri mi, ko ri se olorun wo | He who hasn’t seen me, hasn’t seen God’s work |
| Ooooooo | Ooooooo |
| Eni ti o ri mi, ko ri nkankan o | He who doesn't see me sees nothing |
Verse
| Original (Yoruba) | Translation (English) |
|---|---|
| Eni ti o ri mi, ko ri se olorun o | He who hasn’t seen me, hasn’t seen God’s work |
| Eni ti o ri mi ko ri nkankan | He who doesn't see me sees nothing |
Hook
| Original (Yoruba) | Translation (English) |
|---|---|
| Amin l’awa je, si Iwo Amin | We're marks to You the Amen |
| Beni ire loje ki aiye wa o | Your Yes makes the whole world to be |
Verse
| Original (Yoruba) | Translation (English) |
|---|---|
| Olorun l’Amin | God is Amen |
| Amin lo n’famin wa han | Amen reveals our mark |
| Aiye, atorun l’amin yen o | Heaven and Earth are those marks |
| Aseda ni Amin | The Creator is the Amen |
| Oro re lo je ki a ma wa | Your word makes us exist |
| Olorun l’Amin | God is Amen |
Outro
| Original (Yoruba) | Translation (English) |
|---|---|
| Amin, Amin, Amin, Amin o | Amen, Amen, Amen, Amen oh |
At the middle section of the song (at 4.02 forward) came the refrain with new textual content but in the musical motif of the initial refrain above till the end of the track. It was used in three different times in this section of the track.
Understanding the Causeless Cause Concept
The application made extensive use of Hermeneutics, an approach that takes into account not only the literal words of the songs, but also the hidden emotions and intentions of the singer. In order to fully understand and convey the meaning of the songs, the application relied on a rich collection of scholarly documentaries and insightful commentary from experts in the field.
Through this comprehensive analysis, the application was able to delve deep into the intricacies of the songs, making them truly meaningful and establishing a profound connection between the ecological cause and its consequential effects. The process of examining the songs was a meticulous one, with the musician leaving no stone unturned in order to fully grasp the essence of the lyrics. By carefully unfolding the inner layers of meaning and exploring the outer factual elements within the sound, the musician was able to shed light on the concept of the causeless cause that permeates the songs. This interpretation of the lyrical meaning was not just a superficial analysis, but a profound exploration that brought the true essence of the songs to the forefront.
Moreover, the application focused on the rich traditions of sung storytelling, using the songs as a medium to narrate the societal context in which they were created. By capturing the everyday experiences and struggles of individuals, the songs had the power to ignite change and inspire transformation in the lives of those who listened.
Through this lens, the application recognized the immense transformative potential of music and embraced it as a catalyst for social change. Overall, the application's approach to understanding and interpreting songs went beyond mere surface-level analysis. It delved into the depths of the songs, uncovering their hidden layers of meaning and providing a comprehensive understanding of the social, emotional, and ecological dimensions they encompass. Through the intricate process of examining the songs, the application was able to unlock their true potential and present them in a way that resonated deeply with listeners (Espinoza 2022; Mayer 2021; Gotlib & Kaufman 2023; Blaber 2022; Purcia 2022).
The song looks into the unique drawn or sung picture of the diverse and enchanting ecosystem via indigenous theologically interested African music. The mesmerizing melody in focus beautifully mentions the familiar and unfamiliar terminology of the awe-inspiring source of creation, replacement, abundant human and precious natural resources, and so much more, in the received setting that all and sundry revolves tradition about. It intricately relates the profound causeless cause concept or supreme almighty Ecosystem Administrator to the proportions of all magnificent and harmonious events taking place in the ever-evolving and wondrous eco-environmental system (McCrea & Gillespie 2021; Ezeogamba 2019).
Origins and Philosophical Roots
It lays hold of the air and forcefully hurls it down, exerting its power over the very elements that surround it, while simultaneously discovering sustenance within them, upon which it preserves its life force.
Thales thus eloquently introduced a profoundly mystical and enigmatic element, often referred to as indefinite instrumentality, as the ultimate and pivotal prime cause (arche), which also encompasses the profound concept of a causeless cause or the primal First Cause. As Thales's profound insights resonated through time, a succession of extraordinary thinkers, such as Anaximander, Anaximenes, and Pythagoras, ventured to postulate even more intricate and sophisticated notions of the First Cause.
Nevertheless, it was Parmenides of Elea, a resolute monist, who introduced a groundbreaking paradigm shift, challenging and reshaping the earlier conceptions expounded by his philosophical forerunners. By casting doubt upon the very observation of change within the vast expanse of the universe, he propelled an imperative need to acknowledge that even when these mesmerizing phenomena manifest before our eyes, their existence must not be attributed directly to the first causes, for change itself emerges as nothing but a deceptive illusion.
Underlying the cosmic symphony of transitory states, there must unquestionably exist a transcendent being of eternal steadfastness, unwavering in its perpetual consistency of existence. Considering the vastness of the universe and humanity's curiosity to understand how it all began, philosophers started searching for a First Cause. Even in ancient times, like during Thales' teachings, they realized that there had to be a point where the explanation for how the cosmos was created had to stop. This eventually led to the idea that the Earth is supported by water (Dhiman n. d.).
Key Characteristics and Interpretations
Thus, the songs of ‘Yes and Amen’ album by Tope Alabi explore the complexities of the existence of the Causeless Cause, a concept used in philosophy and theology. This concept is important because it answers questions about the cause of beings in the ecosystem. Such questions include who is responsible for them and who caused the sun to move across the sky from east to west and warm up the earth's surface? On the other hand, the concept of the ecosystem is important as it deals with the interactions between the biotic and abiotic components of the environment, and these interactions have effects on the formation of the ecosystem's properties.
'Yes and Amen' is a Christian music album, a mixture of songs in Yoruba language and English. It was launched and released in 2018. The album is a message-centered, worship-themed collection of traditional gospel songs and hymns that glorify the Lord and provide solutions to people's problems. Through it, she discusses belief in the ecosystem and attributes of God. Tope Alabi connects belief in the ecosystem to the Afro-Brazilian mythology of West-African Yoruba origin.
The Ecosystem in Music
Gospel artists present valuable information on various songs that not only entertain but also serve as a means of educating the ecosystems. These songs go beyond the walls of the church and offer cognitive processes that can enlighten individuals. One particular focus of the research was the illuminating concepts conveyed in the renowned song 'Yes and Amen' by the talented Tope Alabi. Within this song, nature is beautifully portrayed, and the existence of inexplicable causes becomes evident even to the most uneducated individuals.
The ecosystem's characteristic lies in the fact that it fosters equal relationships among its entities, and the influence of a spiritual being brings about collective success. The main objective of this research is to establish a connection between the appearance of spiritual beings in the ecosystem and their subsequent impact. Through thorough analysis, the study aims to unearth how ancient and Christian creeds are skillfully manipulated by the music producers, allowing for the smooth integration of these two-dimensional concepts.
This paper delves into the depths of the subject, examining the atmosphere extensively to test the appropriateness of using it as a descriptive element when delving into perceptions of nature. Furthermore, it explores the concept of the seventh sense, adding an additional layer of intricacy to the overall analysis.
Understanding the conception and appreciation of given musical works greatly enhances one's understanding of the vast complexities that lie beneath the surface. Personally, the author finds himself immersed in a rich tapestry of diverse musical genres such as gospel, indigenous, religious, and the timeless melodies of TIV cultural music.
Within these enchanting compositions, one cannot help but find profound cause and effect relationships and vivid examples from the ecosystem to elucidate various aspects of life's experiences. Equally captivating is the exploration of the mystifying connections between spiritual entities and the inhabitants of these mesmerizing ecosystems.
As individuals vocalize these melodious compositions, the very essence of their encounters and the triumphs that follow find expression, making these songs invaluable sources of information within educational institutions. Gospel music, in particular, offers solace and inspires a vast audience that shares a profound spiritual connection to the enigmatic causeless cause that permeates our existence. Furthermore, this genre often masterfully reflects the inherent concerns of our natural world and the resolute resolution of adversities, making it an indispensable soundtrack to life's journey.
Role of Ecosystem in Music and Artistic Expression
The musician's awareness of the provision made by the ecosystem reflects the capacity of the human brain. This becomes an art that allows the musician to translate this capacity into an object, that is, the song that brings the issue of environmental sustainability to the front seat. Assuming the audience listens and understands the song, reinforces such an appreciation for the ecosystem within the audience. This action can lead to changes in the attitude of the human race, such that humans imitate the ecosystem by being kind and selfless towards other human beings.
This transferral of the ecosystem's kindness and selflessness to human beings will be seen by the audience as the causeless cause, similar to the provision of the ecosystem. The intricate and awe-inspiring ecosystem can unmistakably and undeniably be perceived as a realm of tranquility and serenity, embodying a profound silence that resonates with purpose and meaning. Enveloped in an altruistic and selfless nature, the ecosystem graciously and generously bestows numerous provisions, gifts, and blessings upon the intricate tapestry of human existence, fostering and nurturing life in its splendid diversity.
In a remarkable parallel, the musician, with their keen perception and sensitivity, uncovers and explores the profound beauty of this selflessness and discovers a groundbreaking and transformative inspiration to implore and encourage the audience to embrace kindness, compassion, and empathy, and to emulate the ecosystem's self-sacrificing demeanor. The musician becomes a visionary and a messenger, channeling the essence and spirit of the ecosystem through their art, artfully highlighting and illuminating this unsung phenomenon of nature. Through their artistry and virtuosity, the musician effortlessly and masterfully weaves a mesmerizing tapestry of melodies and harmonies, guiding the audience into a state of captivation and enchantment.
The captivating performance holds the audience's attention unequivocally and completely, as they are transported on a profound and transcendent journey. Yet, in this enchanted realm of music, the audience may be unaware of the profound role the ecosystem plays as the ultimate provider, silently and discreetly bestowing sustenance, nourishment, and nurturing for the soul.
Like the conductor of a grand symphony, the ecosystem orchestrates a harmonious and intricate composition of profound lyrics, exquisite melodies, and serene harmonies, creating a symphony of nourishment for the soul. As the melodies intertwine and the harmonies meld, the audience is captivated and deeply moved, perhaps unaware of the invisible thread that connects the music to the ecosystem, seamlessly intertwining two realms of beauty.
The audience becomes an unwitting participant in this magnificent symphony, uniting with the musician in gratitude and reverence for the ecosystem's immense and vital contribution to the human experience. In this way, the intricate and awe-inspiring ecosystem reveals itself as a mysterious and enigmatic embodiment of a causeless cause, a force of nature that tirelessly and selflessly nourishes and sustains all of creation. It is through the musician's art, with its power to speak to the deepest recesses of the human heart and soul, that the ecosystem's profound essence is unveiled and celebrated, inspiring all to live in harmony with nature and embrace the selflessness that defines the ecosystem's very existence.
Interconnection of Concepts in the Song
Tope Alabi also made use of other concepts in her praise to God. The forest mentioned in the song can be seen as both the green forest and the bustling market. In other words, the Causeless Cause shops in the forest – God’s goodness is abundant in the forest. Whether or not Tope is acquainted with knowledge of ecosystem and life sciences, she has used some concepts and their relationships in her song. The song has some scientific knowledge embedded within it.
Our knowledge from different disciplines is intertwined and functions together to influence each other. All the concepts interconnect together. God foreknew the acts of all of His creations and thus provisioned for them. The concept of Causeless Cause reinforces our faith and confidence in God. The concept of Creation reminds us of our effort which is beneficial to our environment with the overall benefit of glorifying God – diligence, dedication in studies, and entrusting our concerns to someone, God.
This section discusses the interconnectedness and rationale for choosing the concepts in the song as well as their relationship to the topic. Firstly, the concept "Causeless Cause" is a transcendental concept in nature and useful for channeling human understanding to the domain of the Ultimate Creator. Tope Alabi, in one of her compositions, 'Yes and Amen', exhibited the Causeless Cause concept in an amazing musical talent. The forest, living things in it, various sculptural representations, and others were mentioned in her songs as some of the works of the Causeless Cause. Tope did not need to see these things being created ab initio by the supreme being before she could compose a song about them. Our culture has primed us with the knowledge of these works, and so she could venture into the concept in her song.
Linking Causeless Cause and Ecosystem
There is something truly unique and undeniably captivating about the breathtaking 'Yes and Amen' track (#2) that demands our utmost attention. It is at this precise moment that the inimitable singer, Tope Alabi, humbles herself and pays heartfelt homage to the glorious causeless cause. It is truly a sight to behold, as it triggers resonating chords within our souls, reminiscent of that momentous occasion when the completion of the wondrous creative acts achieved by the causeless cause was celebrated with unparalleled magnificence. Indeed, the sacred pages of the Bible encapsulate this awe-inspiring event, forever engraving this divine spectacle into the annals of history. The words leap off the sacred scrolls, recounting this paradisiacal celebration of creation, and we are left in pure awe of the enigmatic force behind it all.
The significance of bestowing profound honor upon a causeless cause is the very essence upon which this masterpiece rests. As the author delved deeper into the profound concept of the causeless cause, he couldn't help but view it through the prism of the creation event itself.
This introspection led the author to impart crucial teachings regarding the indispensable importance and practical manifestation of acknowledging the causeless cause within the intricate tapestry of our ecosystem. For it is through this profound recognition that we are granted the privilege of sharing the beautiful narrative, illuminating our path and guiding us towards a heightened understanding of our existence. Within this grand tapestry, we are bestowed with the binomial privileges.
We are granted the immense honor of dwelling in a realm where the harmonious response to such divine recognition fuels our souls, kindling a fire within that burns brighter than ever before. Yes, it is through paying homage to the causeless cause that we truly align ourselves, resonating in perfect unison with the ever-present forces that govern our world. And so, we embark upon this transformative journey, basking in the radiant glory of the 'Yes and Amen' track. Let us not merely listen, but immerse ourselves in the profound depths of its lyrics and melodies, for within lies the power to transport us to a realm of heightened spirituality and understanding. May we embrace this opportunity to attune ourselves to the ethereal vibrations that emanate from this divine ode, forever striving to live in harmony with the magnificent causeless cause, and to share its boundless wisdom with all who will listen.
Conclusion
Recently, Tope Alabi, a Nigerian worshiper, sang the 'Yes and Amen' track where she gave honor to the causeless cause. The Holy Bible originated the relevant verses during the Old Testament creation event. The discourse looks at the concept of causeless cause in the light of the creation event and interprets the implication of acknowledging the importance of the causeless cause in the ecosystem. The work concludes with objectivity, looking at the visible causes in the ecosystem and giving guidelines, such that cultists and worshipers see the visible causes of ecosystem problems as opportunities that they can correct, thereby increasing their chances of creating loving coexistence and even more causeless cause power earning dividends from it.
The causers who allow free reigns which may disturb the sustainable existence from their regions are SUMMER RAINS, WINTER, WIND, RAIN, and others. They were released to encourage sustenance of life, maintenance, and restoration. They are ‘Yes and Amen’ agents whose functions by caution of deployment in life-roles “when they gather too close for breathing” become negative. Wildlife and people who derive pleasure may when too close become sacrificial to wind and sink. Therefore, for the different harbingers and the hot and heavy winter rains and the summer and light winter rains “no droppings of life-giving white” should be liberal in steps of nurturing from exposed yin or in spatial cover form or solar sublimation.
'Yes and Amen' What is 'Yes and Amen’? An appraisal of the different dimensions revealed that 'Yes and Amen' are powerful expressions. It is a combination generated by relating OMNIPOTENT GOD to different dimensions. This is a realistic and pluralistic view of sustaining the concept. Therefore, acknowledging which dimension of the many available in 'Yes and Amen' may determine the model of operation. It offers that the GOD of creation is not opposed to science explanations and evidence of godly attributes. The goodness, mercy, benevolence, graciousness, kindness, generosity, and so much more of OGO (Author of all attributes) together with OMI (All knowing GOD) OMNIPOTENT, which encompasses the AMEN of all acts and initiatives. It suggests the intelligent response, reflecting the infinite depth and breadth of divine wisdom, knowledge, and power.
There is an inexhaustible richness, a vibrant tapestry of meanings and implications woven within the fabric of 'Yes and Amen', providing an expansive framework for understanding the complexities of existence and the myriad ways in which the divine presence manifests in our lives. As we delve deeper into the profound significance of 'Yes and Amen', we find that it invites us to explore the cosmic symphony of divine harmony, where every note resonates with purpose and every chord carries the cadence of divine love. It beckons us to embrace the multifaceted nature of spirituality and to recognize the interplay between faith and reason, revelation and science, as essential components of our journey towards a deeper understanding of the divine. In embracing 'Yes and Amen' as a guiding principle in our lives, we are reminded of the boundless possibilities that unfold when we unite our human efforts with the divine will. It compels us to reconsider our preconceived notions and to open ourselves to new revelations and limitless potentials, as we align our minds, hearts, and actions with the higher purpose that permeates all existence.
Through 'Yes and Amen', we are beckoned to a paradigm shift, an awakening to the profound truth that the divine presence is not confined to one realm or modality, but transcends all boundaries and permeates every facet of our being. It invites us to rise above the limitations of our finite perspective and to embrace the expansive vista of divine consciousness. Embodying the spirit of 'Yes and Amen' empowers us to navigate the complexities of life with grace and resilience, anchoring ourselves in the unshakable assurance of divine providence. It instills in us a deep sense of awe and wonder, as we behold the majesty and magnificence of the divine unfolding in every moment, in every atom, and in every breath. Thus, 'Yes and Amen' becomes not just a mere expression, but a transformative force that propels us towards a greater understanding of ourselves and the world around us. It illuminates the path of spiritual growth and enlightenment, guiding us towards the realization of our fullest potential as beings imbued with the spark of the divine. May we embrace the expansive beauty and profound wisdom encapsulated within 'Yes and Amen', and may it continue to inspire and uplift us on our sacred journey of self-discovery and communion with the divine.
Summary of Findings
However, the objective of these themes was to appreciate their influence and appraise how the effective maintenance of the ecosystem is fostered. Compared to forty-one themes from available literature, particularly causality, waste production, and disposal have been the most neglected song themes. Tope Alabi's song provides a new way for going deeper into the universe of songs emanating from wasteland, resilience, and spiritual sustainability by helping others, even though some song themes are better presented than the one from this song. What these themes have in common is a typology: the struggle (93%) to survive; an action (94%) protecting; and a revealed causal theme (100%) that can be a solution for using the ecosystem, surprisingly through spiritual empowerment. Suggested areas for further research include the future experience's spiritual awakening using music.
This study sets out to assess if Tope Alabi's song, "Yes and Amen," provides the notion of sustaining the ecosystem through its composition and themes, such that waste recycling, a successfully symbiotic relationship in the ecosystem, and the gardener spirit are fostered and subjects associated with it. By expressly analyzing the causes, using semi-structured interviews, and content analysis of this song, its themes revolve around careful composition, the spiritual and cultural background of Tope Alabi's beliefs, songs in other CDs, and the Bible. Findings are found across five songs, although two were found to perform best within the set criteria, including the aforementioned struggles, actions, and proposed solutions.
Significance of the Study
Furthermore, the need for a particular religion to make use of its indigenous languages in religion and any other domain should not only be seen as intrinsically committed to providing its adherents with a space for religious practice but also in the domain of education by promoting the language. The West is always associated with the production of theological literature, although it seems as if other languages and regions of the world do not have any indigenous languages at all, which is the reason why the society produces various languages that could contribute to the common good and promote cultural exchanges. Exceptions are major Nigerian languages such as Yoruba, Hausa, Igbo, Efik, Kanuri, to mention but a few, which are commonly used in religious worship both in Nigeria and outside Nigeria.
The significance of this study lies in the practical location of indigenous languages in religious music. Though the translation of a religious song seems to pose a challenge to various earlier cultures, it is worth noting that the contemporary age is experiencing a direct shift that allows religion to easily use or find meaning in musical composition. Nevertheless, the essence of this study lies in the agreement that language no longer serves as a barrier in various religious musical compositions. The seventeenth-century baroque composer, Johann Sebastian Bach, did not compose in only Latin, the language employed for most church hymns in Europe, but his texts were largely in German and as one of the leading compositional experts, religious leaders at the time in Europe could not object to the use of the musical composition.
References
- Abolaji, A. Y. 2024. Women and Christianity in Southwestern Nigeria from 19th to mid-20th Century: Implication for Contemporary Churches in Nigeria. Философски алтернативи, Issue 2, 2024.
- Ayorinde, O. & T. S. Ajose. 2022. “Music and spirituality in Africa: Gospel music, spirituality, and everyday meaning-making in Nigeria.” Religions 13: 1227. doi
- Bexell, S. M., Nikitina, K. V., & Manna, L. E. 2023. “This Image Haunts Me to This Day”: Exploring the Psychological Impacts of Wildlife Loss on Conservation Professionals Through Photovoice. Ecopsychology, 15(3): 294-304. doi
- Blaber, Michael R. 2022. The Theology of Opposition to the Existence of Anthropogenic Climate Change. doi
- Chajes, J. & B. Huss. 2021. The Cosmic Movement: Sources, Contexts, Impact. academia.edu
- Dhiman, S. n. d. Is Zeitgeist behind the development of Human thoughts?. academia.edu
- Espinoza, Gregorio Abad L. 2022. Transcending human sociality: eco-cosmological relationships between entities in the ecosphere. doi
- Gabora, L. 2016. The Creative Process in Musical Composition: An Introspective Account.
- Gotlib, R. & T. Kaufman. 2023. No Where to Go But High: A Perspective on High Dimensional Expanders.
- Ikechukwu, Ezeogamba A. 2019. Identification of a neighbor (Luke 10:25-37) in Nigerian multi-cultural context. doi
- _______. 2019. The Word (John 1:1-18): Material of Creation and Saviour of Mankind Hermeneutical Approach. researchgate.net
- Janew, C. 2017. How Consciousness Creates Reality. Translated from German by Nathalie Sequeir. philarchive.org
- Jhunjhunwala, B. 2021. “Hindu Cosmology in the Light of Modern Psychology.” International Journal of Theology, Philosophy and Science 5(9): 19-52. doi
- Joffe, A. R. & A. Elliott. 2023. “Long COVID as a functional somatic symptom disorder cause by abnormally precise prior expectations during Bayesian perceptual processing: A new hypothesis and implications for pandemic response.” SAGE Open Medicine Vol. II: 1-29. doi
- Masi, M. 2023. “The Integral Cosmology of Sri Aurobindo: An Introduction from the Perspective of Consciousness Studies.“ Integral Review Vol. 18 No. 1. philarchive.org
- Mayer, C. H. 2021. “Understanding Wildlife Crime from Eco-Existential and African Perspectives: A Psycho-Philosophical Investigation.” International Journal of Environmental Research and Public Health 2021 Nov 7; 18(21):11675. doi
- McCrea, Tyson K. & Kevin C. Gillespie. 2021. “‘The Flow that Pushes you’: Christocentric Reflections on the Compassion Expressed by African American Youths in Chicago Suffering Profound Disadvantage.” Pastoral Psychology 2021 Aug 2, 70(5):441–470. doi
- Mehta, L. 2023. “The anatomy of death.” Journal of Craniovertebral Junction and Spine. doi
- Oldfield, R. G. 2022. “You can't betray a fish: One reason eating fish may cause less harm than eating cows.” Journal of Animal Ethics 12(1): 51-58.
- Purcia, Lesbos E. 2022. “An Ecocritical Reading of Selected Sidays in Baldesco’s Poetic Anthology ‘Kawit’.” AWEJ for Translation and Literary Studies. 6(1), Feb 2022.
- Titus, O. S. 2018. “Musical narratives of oil exploration and sea degradation from the Niger Delta.“ Monsoon Assemblages-Water Department of Architecture 091-099.
- Titus, O. S. 2019. “Ecomusicology, indigenous knowledge and environmental degradation in Ibadan, Nigeria.” African Music: Journal of the International Library of African Music 11(1): 72-90.
