Accompaniment instruments of prayer is the living communion of the believer with divine reality and as such is the central phenomenon of religion and the core of worship.

Musical instruments accompaniment provide through its particular rhythms, melodies and song texts, an imaginary communication between the worshippers and the super-natural world.

A further accompaniment is the use of certain instruments to send messages. The resultant rhythmic patterns of the music performed for a certain deity can always be regarded as a symbol of that deity.
The functions of music concern the reasons for its employment and particularly the broader purpose which it serves, and that among the several functions of music are those of emotional expression, entertainment, communication, symbolic representation, enforcing conformity to social norms, validation of social institutions and religious rites.

Music gives its performers and listeners the opportunity to express and experience a variety of emotions, some of which are associated with particular instruments.

The function of communication is also provided in various ways by different types of music, thus communicates parts of the people’s history as viewed by the song texts and accompanying dances.
Lamella-phones instrument like the traditional Asologun, Akpatamamwen, organ music, piano, the violin, are the sound of wood and on wood that have the basis of music in some culture and a subject of religious awe in many others.

Some tribes use only the wood of the female tree to build their marimbas because they believe that the beautiful tone of the instrument is caused by the tree herself, lamenting the loss of her lover still standing in the forest.

Slit drums as well as Ighede membrane drum, provide the famous priest drums and are seen only at moonlight Ceremonies when their voices are taken to be the voices of the fearful monsters.

In many traditions, drums making has acquired solemn rites to enlist the cooperation of the wood itself and of the spirit world. The wood is chosen for such practical qualities as sonority and durability.
Some societies feel that there is a mystic connection between the wood and water, and the drum maker avoids all water while the log is being hollowed out.

Elsewhere the simple rattle has potent power in the ceremonies of some culture and even in certain festivals of the medieval church; but today, the xylophones and temple blocks of orchestra and dance band are faint echoes of a remote past, when the sonorities of wood stirred people to awe.

The violins, the foundation colour of the classical symphony, orchestra, belong to the most recent group of string instruments. The classical string tone of music is the plucked lute. The familiar ones being the sitar or Akpatamamwe (Akpata) or the plucked zithers, or plucked lutes like the shamisen.
In the zithers, each note has a separate string vibrating freely between two bridges attached to the body of the instrument, which also serve as the resonator.

In the lutes, each of the number of strings can be made to give many different tones by being stopped at different points along a fingerboard so as to give different vibrating lengths.

The Guitar was combined in a new group of instruments known as vibuelas, more refined and elegant than their medieval ancestors. They initiated a tradition of fine carpentry in musical instruments that produced some of the most sophisticated examples of the woodworkers’ craft.

During the fifteenth century these instruments were folk instruments; but were soon accepted by musicians, though a by-product of the bustling racial that vividly evokes the small town and homesteads of such sweetheart song; “Honolulu star and the Hawai guitar there I heard her name on the golden sand of WAkiki”

The ‘Akpatamamwe called Akpata for short, was said to have been played to evolve the divine spirit saying “supposed I was told that just watch him, is a curse, I would have implored the Edo people to denounce the curse Akpatamamwe we gha ghe ere, ghe ihen non, te I gha we ne Edo se r’Ihen:. So the Akpata is usually played solo to accompany prayers, story telling or dances.

The Asologun was played in the early eighteenth century by Oba Ewuakpe to relieve his grief during the time of misery. The Akpata is also associated with the same variant as the Asologun. The attraction of the Akpatamawen music and Asologun are an important theme in some Edo tales.

On the bronze plaque and in the report by the Spanish missionaries the Akpata is however, used in a ceremonial context, and in praise songs. It should be noted that the Oba, as well as several chiefs know how to play the Akpatamamwe (Akpata) instrument.

Human beings are religious because they are driven by an instinct of the existence of sensible realities, or the awareness of their desire for help and happiness.

All men and women have a sense of religion, a sense of divinity, a sense of mystery. They manifest it in different ways and bear witness to it, in every aspect of life, in a deeper understanding of human persons, dignity and clear sense of human destiny.

Some people see religion as a form of experience with specific attitude and distinctive emotional states, leading to particular kind of conduct, some of which is concerned with other human beings in social relations and some others see it as what has always been and still is human beings relation to a super-human power.

Religion in itself is based in a world stained by offences, sin and selfishness. The pagan performs sacrifices through fear of punishment or hope of reward. Remove the fear or the hope, the need for such a sacrifices is removed.

Music companiment of prayers may be used in association with numerous human activities, such as political and religious ceremonies and among its several functions are those of emotional expression, entertainment, communication, symbolic representation, enforcing conformity to social norms and religious rites.

The instrumental ensembles often consist of drums, clapper bells, gourds rattles and lamella phone accompaniments instruments of prayer in the worship of divine deities, that may be verbalized in speech or song.

When it becomes a partner, group or repetitive prayer, the respondent in unison chorus “Amen” Ise with the accompaniment suffix amen amen for each prayer. Ise -Ise re a gbe y’ erhunmwu, so the theme of any accompaniment, prayer text, in any situation denotes the answer.