AE-FUNAI JOURNAL OF MUSIC AND THE ARTS (AFUJMA)
AE-FUNAI Journal of Music and the Arts (AFUJMA) is published by the Department of Music, Alex Ekwueme Federal University Ndufu-Alike (AE-FUNAI), Ebonyi State, Nigeria. AFUJMA is a peer-reviewed academic journal dedicated to advancing scholarship in music, performing arts, and related disciplines. The journal provides a platform for researchers, educators, and practitioners to explore diverse perspectives in African and global artistic traditions, cultural expressions, and interdisciplinary approaches to the arts. AFUJMA welcomes original research, critical essays, and creative works that contribute to the evolving discourse in music and the arts.
THE ENGAGEMENTS OF COMMUNITY MUSIC ARTISTIC CREATION IN ATIBA LOCAL GOVERNMENT, OYO TOWN
The engagements of community artists and their creative works have been subjected to several debates in the past decades, owing various glaring challenges as a result of globalisation and cultural changes, which are experienced in African community since the colonial era. This study focused on Atiba Local Government, Oyo State. Although, community music occurs in virtually all parts of Oyo State (Afijio, Oyo West and Oyo East), Atiba Local Government is known for community musicianship and itinerary musicians. This research work thereby examined the engagements of community music artistic creation in Atiba Local Government. The ultimate goal of this work is to explore the current relationship of artists with the environment, the influences they receive, and whether projects with similar content can sensitize listeners to environmental issues. The research design deployed qualitative research methodology. These involves observations, descriptive, interviews methods and library resources. The findings show that Community music create a sense of same identity, uniqueness and the idea of their music is based on justice, power, authority, equality with an openness to achieve a common goal.
Perceptions of Music Educators on ICT use in Teaching and Learning of Music in Selected Secondary Schools in Lagos, Nigeria
This study investigates the perceptions of music educators regarding the use of Information and Communication Technology (ICT) in the teaching and learning of music in selected secondary schools in Lagos, Nigeria. The primary objective was to examine the perceived benefits, ease of use, and challenges associated with the integration of ICT in music education. The study utilized a quantitative method. The findings reveal that a significant majority of educators perceive ICT as a valuable tool in enhancing music lessons, making them more engaging, interactive, and effective in clarifying musical concepts. ICT was also found to support students’ independent learning, promote better time management in classrooms, and provide lasting memory retention of musical terms and ideas. Moreover, educators noted the potential of ICT in musical composition and fostering student participation in the classroom. However, the study also identifies several challenges in the use of ICT, including technical issues such as frequent errors, unreliable power supply, and the difficulty and cost of maintaining ICT equipment. These barriers were seen as impediments to the consistent and effective use of technology in music education. In conclusion, while music educators in Lagos acknowledge the positive impact of ICT on music teaching and learning, there is a clear need for improved infrastructure, reliable power supply, and ongoing professional development to help educators effectively integrate ICT into their teaching practices. The findings of this study provide crucial insights that could inform policies aimed at enhancing ICT adoption in music education, ultimately improving the quality of teaching and learning in secondary schools across Lagos, Nigeria
INTERSECTION OF MUSIC AND MARKETING IN NIGERIA: CHALLENGES, PROSPECTS AND ISSUES
It has been established over the years that music has the potential of influencing people psychologically, emotionally, culturally, etc. Often times, this influence usually manifest in people’s preference for certain products while engaging in shopping or marketing activities. This paper therefore examines the intersection of music and marketing of selected goods and services in Nigeria with the aim of exploring the significant role which music plays in promoting such products, services, brands, etc. While this is a welcome development in meeting household needs, however, there are notable challenges that are associated with marketing of goods and services in Nigeria in relation to engagement with music. Therefore, this paper examines such challenges and prospects, and also discusses related issues. This paper employs an ethnographic method and analysis of the selected songs chosen for this paper. The findings of the study revealed the significant roles of music in marketing thereby enhancing high demand and consumption of goods and services by consumers at all levels inspite of seemingly challenges involved in the intersection of music and marketing.
Julius Oluwayomi OLUWADAMILARE (Ph.D); OlaOluwa Marvelous AYOKUNMI & Joseph Oladipupo BABALOLA
MUSIC AND TRADITIONAL RELIGION IN CONTEMPORARY NIGERIAN SOCIETY: THE IBIBIO EXPERIENCE
The Ibibio ethnic group of Akwa Ibom State, Nigeria, is remarkably religious, a trait common among many other African peoples. They integrate religion into every aspect of lives, given that religion is inextricably linked to culture. However, the role played by music in all religions, whether traditional, Christian or Islamic, is vital, because it serves as a powerful medium for spiritual communication, and cultural cohesion. The study examines the traditional African religious beliefs in Nigerian society, with a focus on the Ibibio people. It investigates the intricate relationship between music and religious practices among the Ibibio people. And also to assess the profound influence of music on cultural values, cultural identity, and its impact on spiritual expression. The musical expression serves not only as a means of worship but also as a medium for preserving and transmitting cultural values and historical facts. The research investigates how traditional music is used in various religious contexts and beliefs, including rituals, initiation ceremonies and worship. Additionally, it analyses the challenges faced by Ibibio traditional music and religion in the face of Christianity and modernization. The aim of this work is to contribute to a deeper understanding of the complex relationships between music, culture and spirituality in Ibibio society, and its relevance to broader Nigerian and African contexts. By employing a qualitative research approach, this study provides insights into the dynamic and evolving nature of traditional Ibibio music and religion, highlighting their continued relevance and significance in contemporary Nigerian society. The findings highlight the significance of music in conveying spiritual messages, invoking divine presence, and reinforcing cultural values. The study recommends that efforts be made to document, preserve and promote indigenous values Akwa Ibom through music for future references.
AN ASSESSMENT OF STUDENTS' PERCEPTION ON ADMISSION PROCESS INTO MUSIC TEACHERS EDUCATION PROGRAMME IN SELECTED COLLEGES OF EDUCATION IN SOUTH-WESTERN NIGERIA
Poor academic performance of music students in Nigeria’s colleges of education (COE) in recent years has been a concern for stakeholders. Efforts are made to find answers to this challenge by various researchers who discovered the connection between student’s academic performance in higher institution with the mode and entry qualifications through which they were selected for higher learning. Institutional interference on the admission process into music teachers’ education (MTE) programme in Colleges of Education (COE) in Nigeria has been perceived by students as a major cause of low academic performance among music students. The study adopts mixed methods research design. Structured questionnaire was used to gather relevant data. The population of the study were eight COEs in South-Western Nigeria offering Music. Purposive sampling technique was used to select a State and Federal COEs from the population of study. Primary data were sourced from 60 students of the selected institutions, while secondary data were sourced from related literature, journals, books, thesis, and periodicals. Statistical analytical tools adopted in analysing the data were simple percentile, Mean (x̄) and Standard deviation (SD). Based on the outcome of the findings, it was discovered that many candidates admitted into the department of music were not auditioned, students perceived their admission as institutional interference.
Towards re-introduction of Music as a subject in public secondary schools in Ibadan Metropolis: Music Evaluation in focus
This study explores the evaluation of students’ attitudes towards music education in Secondary schools in the Ibadan Metropolis. This study looks into affective domains of the learning to find out if secondary school students still have affection, value and have positive attitude towards music education. The population of the study is the public secondary school students in Ibadan Metropolis. The simple random technique was used to select the public secondary schools and public secondary school students as the respondents and attitude Likert scale items were used to evaluate the students’ attitudes towards music education in Public secondary schools in Ibadan Metropolis. The study found that Music as a subject isn’t no more on the table time of the majority of the public secondary schools in Ibadan Metropolis 75% (1875). The study also found out that Music as a subject has been merged into Cultural and Creative Art which is commonly taught by Cultural and creative Art teachers who have no professional certifications and training in Music. The study found that Public secondary school students have neither positive nor negative attitudes towards Music education since 80% (2000) Majority of them haven’t been teaching Music as a subject in their respective schools. It is therefore recommended that Music should be taught as a separate subject both in Junior and senior secondary schools. Ministry of Education and the Post Primary Teaching Service Commission should support the reintroduction of Music as a separate subject to help secondary school students learn more about their traditional folk songs and the moral training embedded in them.
RADITIONAL JUDICIAL SYSTEM AS A PANACEA TOWARDS FIGHTING CORRUPTION AND OTHER RELATED CRIMES IN NIGERIA: THE IGBA MBEMBE IGBO DANCE DRAMA AS AN EXAMPLE
It is no longer news that corruption and other related crimes have eaten deep into the fabrics of all facets of Nigerian systems. From all indications, our nation is sick and requires a state of wellness. The data for the study was obtained using interview and participant observation. The study conducted, discloses that many Nigerian citizens have lost confidence in the Nigerian Police Force in terms of fighting corruption and other related criminal cases. The people interviewed by the researchers unveiled their minds that the Nigerian Police Force is not walking the talk. Some documented interviews on people’s views about the Police Force are nauseating. The study aims to enlighten the world at large, the Nigerian populace, particularly the Igbo on the need to revert to the Igbo traditional system of justice known as Igba mbembe where confirmed perpetrators were brought to book by open disgrace through music and dance drama. They were made to dance either half or fully naked to different types of music played by the members of the community where they belong, with demonstrations depicting the offence committed. The efficacy of music in transforming lives was also looked into because the Igba mbembe is accompanied by didactic music. The researchers are confident that by so doing, law and order will be restored and maintained in Nigeria and the society will once again experience the state of wellness as was the case in the olden days. The study is based on Skinner’s Operant Conditioning Theory.
Mabel Ugochi Okpara (PhD); Olusola Samuel Akintunde (PhD) & Francisca Anuli Ugwu
EXAMINING THE IMPACT OF MUSIC EDUCATION ON POLITICAL AWARENESS AND CIVIC ENGAGEMENT IN DIVERSE SOCIO-ECONOMIC SETTINGS
Music plays a crucial role in the growth of human beings and society, as it has enhanced and continues to enhance society's life. As social beings, humans are fundamentally political animals, and both music and politics are social realities that combine to make humanity better. This paper examines the relevance of music in man's relationship with society's politics and how it is used to direct affairs and impact desired ideologies on citizens. Many authors believe music is the people's voice, reflecting the social realities that improve humanity. This study investigates the relationship between music education, political awareness, and civic engagement across diverse socioeconomic settings. The study also examines socio-political patterns, academic literature, and past events to highlight the role of music in fostering socio-political consciousness. And also focuses on how participation in music programs correlates with increased civic engagement and the role of socioeconomic factors in shaping these impacts. The paper advocates for a more vital link between music and politics for human development and empowerment, highlighting the benefits of music programs in diverse socioeconomic settings. The study contributes to the broader conversation on the intersections of arts education, societal values, and active citizenship.
THE CONTEMPORARY PERFORMANCE SETTING OF JUJU MUSIC IN YORUBA LAND
Yoruba music encompasses rich tradition of choral singing mostly in form of call and response patterns in their performance practices. This study explores the contemporary performance setting of Juju music in Yorubaland, studying the adaptation and the adopted traditional elements in modern contexts. Juju music as a genre of music is rooted in the cultural heritage of Yoruba people and had witnessed the transmission and infusion of new evolutions in performances style while retaining its identity. This has giving rise of Afro beat which was pioneered by Fela Kuti marching Yoruba idioms and its ostinato rhythms in conjunction with political ascertains, thereby producing some musical genres like Jazz and Funk. Using the descriptive and historical method of qualitative approach, this work examined the contemporary performance styles, content, audiences, factors influencing Juju music as one of the prominent popular musical style, the various exponents of this genre and the significance of Juju music in Yoruba etymology, with the conclusion that, though the music has witnessed the evolvement of new Juju music, globalization and cultural transformation, uprising of contemporary musicians using the Yoruba musical instruments with western instruments and have new genres like Afro beat Modern pop, hip-hop and R&B, yet, the genre still maintain its originality which are deeply rooted in African elements, and sustain its rich Yoruba traditions.
Global Music: A Cross-Cultural Exchange Fueled by Migration and Tourism
In the 21st century, globalization which in other word can be refer to as ‘transactional tune’ can be seen as an emerging world, which is now becoming a single place. One of the major key globalization carriers is ‘Music’. No doubt, Music has always been an integral part of every culture, a mirror through which their practices could be understood. This research explores the phenomenon of global music, a cross cross-cultural exchanged fuled by migration and tourism. It investigates the way in which migration and tourism contributes to the spread of music across cultures, leading to the creation of new musical forms and styles. The research uses a mix of qualitative and quantitate methods to understand the lived experiences of migrants and tourists, the cultural significance of music in different communities, and the impact of global music on local scenes. However, over the years, the advancement in communication and transportation technology for political, economic, social, and commercial reasons, among others, have done harm to predominant cultures and good to musical evolution in a process known as globalization. The later is the focus of this research.
Folorunso David Jayeola & Franscisca Anuli Ugwu
EXPLORING THE REFORMATIVE ROLE OF MUSIC IN CURBING CORRUPTION IN NIGERIA
Music is an integral part of life in any given society and as such has the ability and the power of molding the character of human beings. Its relevance in curbing social vices in the society cannot be overemphasized since being corrupt is more of behavioral pattern of life of individuals in the society. The issue of corruption is multifaceted and as such requires multidisciplinary approach in its suppression, control and eradication. Therefore, this paper examines the meaning, forms, causes and effects of corruption in the society and the reformative role of music in curbing corruption in the society. Recommendations are made on the role of music in curbing corrupt practices in the society.
PSYCHO-SONIC MUSIC AS A COBBLING TOOL USED IN THE JOS PEACE-BUILDING PROCESS: THE “ZAMAN LAFIYA”.
Music, a sustained sound that fluctuates between notes of different pitches, is often linked to mood. A certain song can make people feel happy, sad, energetic, or relaxed. Music may trigger unwanted memories, evoking upset or anger. This article analyses a popular folk song called “Zaman Lafiya” and its impact on people during crises in the Plateau State capital, Jos. The 2021 ethno-religious crisis is one of the continuous crises in Plateau State that has exacerbated the situation, making Jos a hub of violence and upheaval and hindering socio-economic development. The government's regular methods of conflict resolution, that is, the regular use of force and dialogue, have yielded tortoise-walk results as the state still witnesses crises. It is imperative to note that the crisis would require a multi-faceted solution, given that the use of force (soldiers and police) to achieve peace can only lead to a temporary and superficial solution. This therefore invites other means of dispute resolution to the table, one of which is music, which directly influences human psychosis. A crisis is first a mental, violent dispute; as such, it should be best dealt with mentally, and music is an effective means of achieving that. Relying on secondary sources of information, a qualitative research method with a bit of analysis is employed in the research. The research therefore argues that the therapeutic benefits of music in a peace-building process could be harnessed if consciously put into action.
DAVOU, SAMUEL YOHANNA, PhD & OMOTILOYE, WALE JOSHUA
CONTEMPLATING THE CONTEMPORARY NIGERIA IN SAM OJUKWU’S PROGNOSTIC COMPOSITION
Composers are very much concerned with the world of feelings. Personal life, personal friendship, the ups and downs of joy, happiness, and depression, play important roles in their musical output. The art of composition remains an approach to creative writing which brings out a synthesis of musical ideas, motifs and sonorities, to get at that which originally will not be reachable. However, many choral composers have not considered all of the foregoing as diverse media of speaking to the future, mood and emotions of the consumers of their compositional products. This paper attempts to dissect a textual analysis of Sam Ojukwu’s composition Chineke Doo: A Prayer for Nigeria to x-ray its relevance to the present-day Nigerian society. This is a right step in the way of mentorship for budding composers who desire to make a meaningful contribution to the creative industry—attitudinally, mentally, psychologically and otherwise. This study adopts Dan Agu’s (1999) criteria for identification and analysis of African songs in which texts examination form part of the process for consideration.
INFLUENCE OF ACTIVE COMMUNICATION IN CHORAL CONDUCTING
Communication in choral or instrumental music can be either responsive or expressive, occurring between a sender and a beneficiary as the sender (director) expresses musical information in the music sheet in the verbal, visual, or aural signs, and a recipient (choir) deciphers the information. Thus, interpretive communication is a two-advance procedure, depending on data being conveyed plainly and deciphered effectively. This investigation draws on momentum look into and applicable writing to talk about ways choral conductors can improve effective communication with particular reference to the ensemble's discernments. The study, which adopts Marrine's theory of gesture and musical communication, notes that gesture functions as non-verbal communication in music describes how conducting gestures are constructed from motion, and shows how gesture could be detected and reconstructed through sensing technology and software models. Primary data for this study was obtained through participant observation and interviews with ten (10) church-based conductors in Ogbomoso. An examination of practices used by selected conductors reveals that the conductors utilise a series of verbal and non-verbal nuances in conducting; this is herein referred to as "communicative conducting". Findings reveal that meaningful interpretation of African music depends on the director's ability to capture the mood of the music, shape of dynamics, colour of tone, drive the rhythm, express the form and most importantly, develop an inner sense to read into the mind of the composers. The interviewee's feedback uncovers that the conductor's signal, outward appearance and non-verbal communication are critical previously and amid an act. The conductor indicates melodic aims in nonverbal language through motion and these components. Based on the findings, the study recommends that the school of music should develop a curriculum that emphasises meaningful interpretations of African music in a performance. Scholars and researchers in the field of art of conducting should still explore studies in the proper application of score studies towards realising a meaningful insight into the composer's mind in a performance.
THE USE OF PERSONIFICATION IN SIR LUCKY OGHARISI’S MUSICAL SYNTAX
Urhobo music maestros of various Urhobo traditional music genres employ syntax in delivery messages to intended recipients. The paper explored Sir Lucky Ogharisi’s writing style by analyzing the musical syntax of Sir Lucky Ogharisi. Survey methodology was employed; the full album of Sir Lucky Ogharisi was used as the study case. Other secondary sources of information relating to the study were also cited. The study revealed that the use of personification as a figurative statement in prose writing and music texts writing was copiously expressed in the song-texts of Sir Lucky Ogharisi. Apart from the use of personification, the song-texts also addressed issues of inflation and economic melt-down affecting the Nigerian scene in 2017. The study suggests that Nigerian traditional musicians who are mouth-piece of their society should continue in their good work and that such good advices should not be neglected by the existing government in place for their messages if abided with would go a long way to forestalling and propel progress of a nation and therefore development. Furthermore, music scholars should study and document such rich messages for future generation.
OKAFOR, Enoh Justina & OKUNBOR, Dora Ifeanyi
MUSIC IN THE CHURCH: AN INDISPENSIBLE PART OF SUCCESS
Music plays prominent roles both in church and training of the young ones in the service of the Lord. It has many angles and facilitates the development and growth of many groups in the church. Music is a sine qua non for the Christian worship and is recommended for each group. This paper brings to limelight the indispensability roles play in the church and among the youths in the church as a whole.
QUASI-RELIGIOUS TRADITIONAL PERFORMANCE IN NIGERIAN POPULAR MUSIC GENRES: AN APPRAISAL OF LÁGBÁJÁ’S PERFORMANCE CONTEXT
This article explores the quasi-religious manifestations in Nigerian popular music genres, using the performance style of the renowned musician, Lágbájá as a case study. The paper highlights the fusion of religious ideologies and music in Nigerian culture by examining how Lágbájá’s music embodies elements of religious symbolism and ritualistic practices. By analyzing Lágbájá’s performance style, this article aims to shed light on the intersection of music, religion, and identity in contemporary Nigerian society where at different points individual musicians have rejected, reflected or helped to (re)constitute sacred practices via their music practice. The paper is divided into three parts. The first part describes the musical types which can be referred to as Nigerian contemporary popular music. The second part discusses the developmental dynamism in Nigerian pop music. In answering the following questions what is the role of religion in lives of artists within the popular music genre? How is religious metaphor reflected in popular music’s instrumentation and vocal arrangement? When does Fandom become a form of worship? The syncretism theory (Coplan, 1982) is used to examine Lágbájá’s profile and performance style in the areas of stage showmanship and instrumentation. The research methodologies used in collecting the needed data for this paper are the participant observation and interview methods. The paper observes that the strong point of Lágbájá’s performance style which although based on the Yorùbá traditional masked entertainers’ features, also has a cosmopolitan outlook. This is achieved in the way he deliberately combines the musical experience from his cultural background with the new developments in instruments and recording technology which has made the music widely accepted at the international level. The paper, therefore, concludes that Nigerian popular music genres are veritable channels for inter-religious tolerance existence nationwide.
Music and Technology Amongst the Cattle Herders: A Communicative Tool or An Entertainment Forum?
Cattle rearing is an occupation which is found amongst the northerners and is recently, also found amongst some individuals of the Eastern region. It is an occupation geared towards making money and a means of livelihood for survival but its unguided nature of activities, has exposed the herders, the livestock and the environment to some serious health and economic hazards. This paper seeks to explore and highlight the communicative effects of music and technology on these cattle herders and what measures as well as merits it has on both the herders and their cattle rearing business and also the ameliorative measures to curb such issues. A historical method approach through the use of interviews in collection data used for the study, to enable a proper filtering of information necessary for the study and its proper establishments. This in essence is to articulate the ethical implication and dimensions provided through the use of music and advanced technology in communication amongst the cattle herders in the Eastern region and the effect it has to the environment.
Nnanyelugo, Emelda Chinasa & Onyeke, Blessing Uzoamaka
HISTORICLE OVERVIEW OF MUSIC IN IGBO LAND
History is key in determining the bearing of growth and development in any society, arts and all areas of human activities/events. In all the societies of the world, musical practices, like other forms of artistic expression represent an integral part of the total cultural fabric of the people. It is so interwoven with work, play, social ceremonial and religious activities that to isolate one phase from its role in the total life of the people is difficult. The development of any society, depends largely on the level of peace, love and unity among its habitants. Music has been identified as one of the instruments that brings about peace love and unity in any society. This paper explored the Igbo society in terms of its location in the nation’s geopolitical zones, traced their descendant origin and history of some ancient cities. The history of Igbo-land, functions and usefulness of their music in everyday life and culture of the people, constitute the focus of this paper. The study is a qualitative one carried out within the framework of exploring literature, oral interview and direct participant observation.
Role of Digital Technology in the Distribution of Gospel Music Contents in Southwest Nigeria
The advent of digitization in the Western world has brought about a revolution in trends and art of different professions of which music is not an exemption. Digitization improves trade, cultural transmission, and skill practices. This study, therefore, examines how digitization has enhanced gospel music distribution patterns in Nigeria, especially in this digital economy era. This study identifies the role of digital technologies in the consumption, process, methods and digital marketing of the Christian gospel music industry. By comparing old distribution methods with music produced using online digital distribution platforms, the study assesses the benefits and limitations of using digital technology in gospel music distribution. It was discovered that some factors that influence the choice, nature and use of digital technologies in the Christian music industry include fans preference, promotion, distribution, and consumption. The paper concludes that digital technology produces a remarkable effect on music distribution, especially in this digital economy era, such as reducing the cost of distributing and sharing information through online digital platforms and social media platforms. The paper suggests that musicians should utilize digital technology for positive advantage while striving to discourage the undermining of human talents and enhance the quality of general music content.
Abidemi Funmilayo OMOTAYO; Olaolu Emmanuel Adekola, PhD & Omobonike Deborah Ajayi
Enhancing music resource personnel in secondary schools: A study of selected secondary schools in Lagos State. Nigeria
This study delves into the role of music education resource personnel in the Epe and Eti-Osa regions of Lagos State, Nigeria. It explores the historical evolution of music education in Nigeria, elucidates the concept and characteristics of resource personnel in the educational system, and underscores their functional roles. The study administered a questionnaire comprising forty (40) items that is divided into four sections. The findings underscore the indispensable role of music resource personnel in music education, revealing a lack of support for music education in secondary schools from the government. These personnel facilitate students’ engagement, cultivate conducive learning environments, and enhance students' capacity for further education in music. They also sustain students’ interest, foster confidence, and promote practical learning. The study also revealed that music resource personnel should be considered in music education and that the government should find a way to encourage them when they apply to go further in their education. They should be admitted to the higher tertiary, even if they have two sittings or music-graded exams. These are the people that are needed for not meeting the requirements of their preferred courses. The study provides a conclusion for establishing more resource personnel for effective music education.
Adetunji Taiwo Adesoji & John Ajewole, Ph.D
THE ROLE OF WOMEN IN PROPAGATING IBIBIO MUSICAL CULTURE IN NIGERIA
This study employed historical and ethnographic approaches to examine the significant role played by Ibibio women to propagate and sustain their musical culture. The Ibibio people of Akwa Ibom State occupy the South-South coast of Nigeria. They have a rich musical heritage which are preserved and passed down through oral traditions to the younger ones. The aim of this paper is to highlight the key roles played by women in propagating the musical culture of Ibibio and the challenges posed in the modern society. The data was obtained from primary and secondary sources through fieldwork and related works from journals and textbooks. Qualitative design method was applied whereby the researcher observed, participated and documented some facts on the musical practices of the women. It is discovered that, women played key roles in various musical activities including storytelling, ceremonial activities like marriages, funeral events and some cultural practices like new yam festivals and puberty rites. They use songs that tell stories of the community’s values, history and beliefs to ensure the preservation of the musical heritage. Although, those musical activities helped women to pass on knowledge and cultural practices from one generation to the next, during field study, it is found out that some musical/cultural practices performed in the olden times are gradually disappearing in Ibibio community, due to modernization, globalization and social dynamics. While some musical activities are still lingering on, some are innovated, and others are in extinct. Such inadequacies are the challenges that hinder the proper transmission of cultural heritage of Ibibio people. The Akwa Ibom State Governor during yuletide period in December, 2023, organized a festival to revive indigenous cultural/musical arts the people, this is highly commendable. Such musical display should be considered yearly, while the recording and storing of musical works in archives are recommended.
Restructuring the music aspect of CCA teacher education curriculum in Nigeria: A study of the University of Nigeria, Nsukka
CCA, which stands for cultural and creative arts, is a relatively new educational innovation that has been implemented in the Nigerian school system. There has been a transition from unidirectional to trilateral concepts and fields of study. The three arts courses of music, drama, and fine arts are required to be consolidated under a single subject, therefore a teacher who teaches all three subjects may be referred to as a trinity or trilateral teachers. Tertiary institutions are now embracing the development of the Department of CCA for the purpose of educating trilateral instructors in an effort to put the CCA policy into effect. The implementation of trilateral teaching is still in its infancy at certain educational institutions; thus, it is confronted with a number of obstacles that have the potential to undermine the program's intended purpose. The findings of this study indicate that the music component of the CCA curriculum at the elementary, secondary, and university levels is defective. This is due to the fact that professional music educators are not engaged in the creation of the curriculum; rather, they are obliged to administer it. This article makes the case for the necessity of inviting expert music educators to assess the music component of the curriculum that is offered to undergraduate students at the CCA. Through the use of the survey and case study research methodologies, this study is of great importance to professional musicians, as well as those who plan and conduct educational programmes.
Samson Obialor Onu & Rev. Sr. Maria Trinitas Oluchi Keke
AE-FUNAI JOURNAL OF MUSIC AND THE ARTS (AFUJMA) VOLUME 1, JULY 2024
FOOD-RELATED FOLK SONGS AS ARCHIVE AND TOOL FOR CULTURE TRANSMISSION AMONG THE YORUBA OF SOUTH-WEST NIGERIA
Considered the three musketeers of gatherings or communal activity, food, music and language have been known to play a central role in the social fabric of Yoruba society in South-West Nigeria. While studies have paid attention to the roles of food and music choices as well as categorisation and social significance of food and music types in Yoruba parties, there is a dearth of studies on the linguistic dimension of the songs and food vis-à-vis the role which language plays in the mix. Rooted in Cultural Pragmatics and Ethnomusicology, this paper examines the manipulation of the resource of language in Yoruba food-related folksongs to archive and transmit cultural knowledge. Its data were ten (10) popular Yoruba folksongs purposively selected for their food content and short length to make for in-depth analysis. The analysis relied on a complementarity adaptation of the Sapir-Whorfian Hypothesis, Linguistic Relativism and Ethnomusicology to cater for the musicality. It found among other things that lexico-semantic resources of the Yoruba language are exploited to transmit cultural ethos. Food names, crop names and seasonal variations are enacted to ingrain spiritual, moral and cultural codes of the Yoruba into the songs. Agriculture is found to be primal in the Yoruba philosophy while values of personal hygiene, nutritional correctness, discipline and Western education are woven into its cyclical routine musically and metaphorically. It concludes that songs about food are a veritable resource used by the Yoruba to both conserve language and culture and transmit them sufficiently to posterity to ensure cultural survival and perpetuity.
Julius Oluwayomi OLUWADAMILARE, Ph.D & Olushola OYADIJI, Ph.D
AE-FUNAI JOURNAL OF MUSIC AND THE ARTS (AFUJMA) VOLUME 2, JULY 2025
TOWARDS A CREATIVE FRAMEWORK FOR CHORAL CONDUCTING IN CONTEMPORARY WORSHIP PRACTICES
Choral conducting in church often follows routine and conventional methods, with the conductor’s hand as the primary tool for shaping musical expression. However, conducting can transcend function to become an artistic and aesthetic act that enhances the performance. Music is vital in Christian worship, and when performed with excellence, it reflects divine beauty. This study applied a creative approach to conducting selected choral pieces to enrich worship experiences. The research utilised both descriptive and analytical methods. Descriptive research focused on applying creative techniques in live performances, while analytical research examined the structure and text of selected choral works. Data were gathered from bibliographic sources, discography, score analysis, and performance observation. The study also examined how various conductors employ creative interpretation to enhance musical expression. Findings revealed that a conductor’s emotional insight significantly influences performance quality. Practical interpretation transforms written music into expressive sound, communicating the composer’s intent and emotional depth. Beyond the written score, the conductor must animate subtleties not overtly notated, offering listeners a more profound worship experience. The study concludes that incorporating creativity in choral conducting brings vitality to music and enriches worship. It recommends that church music schools develop curricula to support flexible and contextual creative approaches. Further scholarly research is encouraged to explore the depth and impact of creative conducting in sacred music settings. Creativity in choral leadership stimulates emotional engagement and fosters a deeper spiritual connection among worshippers.
The Rejected Stone Now the Cornerstone: Cultural Elements in Musical Performances in Selected Pentecostal Churches in Lagos
The emergence of Christianity in Nigeria witnessed the prohibition of many traditional musical practices and instruments for worship. While many African-initiated churches embraced indigenous music and musical instruments for worship, some Pentecostal churches do not consider such musical practices suitable for Christian worship. Nevertheless, recent trends show that many Pentecostal churches, old and new, massively employ traditional music and instruments in their worship services. This study examines the various cultural elements that have been embraced in the musical performances of Pentecostal churches in Nigeria. It discusses how these elements are shaping Pentecostal worship. Furthermore, it explains the significance of these indigenous musical practices for Pentecostal Christianity in Nigeria. Data for the study were gathered through interviews and participant observation in The Redeemed Christian Church of God and Daystar Christian Centre. The study relies on the theory of cultural nationalism for its analytical engagement. Findings reveal that cultural elements such as traditional musical instruments, praise singing, song texts, dance, neo-traditional musical genres, audience participation and many others have redefined the liturgy of the churches under study.
MUSIC AND SUSTAINABLE DEVELOPMENT IN NIGERIA
It is virtually impossible to talk of anything that concerns growth and development of any nation without reference to their musical values, norms, and customs. Music is integrated with life and appropriate music accompanies almost every stage of human existence. Music plays an important role in the cultural, social, and economic fabric of Nigeria, and it can be a powerful force for sustainable development in the country. By fostering cultural preservation, fostering social cohesion, and contributing to economic growth and job creation, music has the potential to support sustainable development in Nigeria. This paper draws on existing literature, interviews with music industry professionals, and case of successful music initiatives in Nigeria to provide insights into the relationship between music and sustainable development in the country. This paper therefore, examines the concept of music, how music is conceptualized in the Nigerian tradition roles of music and musicians on sustaining development in Nigeria and assess the significant roles of music and musicians in sustaining development in Nigeria.
The Role of Music in African Traditional Religious Practices in Nigeria: The Case of Ohafia Community, Abia State
Music plays a crucial role in African Traditional Religion (ATR) in Nigeria particularly in Ohafia Community serving as a medium for worship, communication with the divine, preservation of cultural heritage, and social cohesion. The study explores the pivotal role of music in African Traditional Religious practices as a vital channel for spiritual expression and communication. Music here is a sacred tool that facilitates worship, invokes spiritual entities, and reinforces cultural values and beliefs. The objective of this paper is examining the role of music in African traditional religious practices in Nigeria: The case of Ohafia Community. The paper employed a historical survey and multi-dimensional approach to achieve this task. The primary source comprises of information obtained from key person’s interview who are votaries of both ritualistic and non-ritualistic music. The secondary sources of data collection include information obtained from books, journals, Internet materials and conference papers. The study adopted a functional theory as its theoretical framework. The paper in its findings noted that various forms such as drumming, chanting, singing and the use of indigenous instruments abound, music serve to accompany rituals, celebrate festivals, and mark significant rites of passage. The study concludes that music enhances the efficacy of religious rituals by creating an atmosphere conducive to spiritual communication, expressions and experiences, fostering a sense of identity among practitioners, and preserving oral traditions of Ohafia Community. The paper recommends that music should remain a dynamic and integral element of Africa traditional religious practices.