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.
Analysis of Lagbaja’s music “200 million Mumu”: Corruption in Nigeria, Historical Perspective
Lagbaja is a popular Nigerian musician who wears mask during musical performances. In his musical composition titled ‘two hundred million Mumu’, Lagbaja paints a picture of corruption in every sector in Nigeria. ‘Mumu’is a Yoruba word that can be interpreted as fool. The Nigerian population has been estimated to be around 200 million. Lagbaja discloses that Nigerians (the whole population) have been fooled by corrupt leaders who promise heaven and earth to make life comfortable for them, but when they are elected into offices, the reverse is usually the case. Through the medium of music, he reveals that Nigerians have been fooled, Nigerian leaders and their followers are corrupt. He reveals that the concept of his usual costume of wearing mask during musical performances represents the faceless, voiceless and disenfranchised common man. His mask is a cultural representation of the common man’s sufferings and agonies. The paper is an analysis of ‘two hundred million mumu’, pari passu the forthcoming general election and it traces the history of past governance in relation to Nigerian corrupt practices. It concludes that the reproach of Nigeria can only be removed by electing the right people into offices, Nigerians need to go out en masse to vote. The paper analyzes and notates the song texts.
Analysis, Lagbaja’s music, 200 million Mumu, Corruption, Historical
Olufunmilola Temitayo OLADIPO; Sunday Olufemi Akande
Discuss on Ibibio Folksongs in Contemporary Choral Music Composition
Folksongs in Ibibio land, like any other African Countries appeals to a group of people who share the same language, culture and traditions. This group of people have their own types and styles of music that is only special to them. Making music is part of their ways of life as it cuts across their traditional norms and believes. But then, folksongs sometimes change due to the various verbal processes of transmission, usually from one generation to another. This changes have brought about loss of interest to an average Ibibio thereby allowing nearby cultural influence. The paper intends to, as a way of revival, transcribe and translate some Ibibio folksongs in order to preserve Ibibio folksongs in Nigeria. The method employed was qualitative in nature as folksongs was collected verbally and through recording. At the end of this research, the researcher was able to translate and transliterate selected Ibibio folksongs, as a way of documentation for the purpose of contributing to the contemporary Ibibio musical work repertoire. It has also serve a guide to non-Ibibio composers who may be interested in composing in Ibibio language. It also made some recommendations.
Ibibio, Folksongs, Contemporary, Choral, Composition, Language
African Musical Systems: Epistemic Foundations and Aesthetic Trajectories
The study addressed the lack of analytical models capable of comparing African musical systems without collapsing their epistemic distinctiveness, a gap that has limited theoretical coherence in African music scholarship. It examined this problem by developing an epistemic–aesthetic analytical framework and applying it to two contrasting case studies using a qualitative comparative design, drawing on two data sources and analysing two musical systems through six analytical categories. The analysis identified three core patterns: a shared relational macro-epistemology across systems, distinct authorship and transmission logics, and convergences in rhythmic and textural organisation despite divergent performance ecologies. It also found that four of the six analytical categories revealed cross-system continuities, while two highlighted structural divergence. These findings demonstrated that African musical systems can be compared rigorously without imposing external categories. The study’s significance lies in offering a theoretically grounded, methodologically replicable model that advances African music analysis and supports future research, pedagogy, and creative practice.
Aesthetic Trajectories, African Musical Thought, Comparative Analysis, Epistemic Foundations, Musical Systems
Albert O. U. Authority, PhD; Blessing Ebere Arihi
The Role of Women in Music Education in Tertiary Institution of South West Nigeria: Gender Barriers and Opportunities in the 21st Century
Contribution of women to the sustenance of cultural values in traditional African society through folksongs and folktales still remain culturally significant and relevant to the growth and development of music education programme in Nigerian system of Education. Inspite of seemingly challenges facing the education of women generally in contemporary Africa, and specifically Nigeria, the need for more women in music in Tertiary Institutions in South West Nigeria cannot be over emphasized. Therefore, this study examines some of the challenges confronting the education of women in Nigeria and prospects available to women in music in Tertiary institutions in Nigeria. This study is relevant to Education-related Sustainable Development Goals (SDGs) four, five and eight which focus on Quality Education, Gender Equality and Decent work and Economic Growth. The findings of this study revealed that inspite of challenges confronting the education of women in Nigeria, the contribution of women in music-to-music scholarship remains relevant and needed for the advancement of music education in tertiary institutions in Nigeria. It is therefore recommended that more women should be encouraged by the government at various levels through sustainable policy reforms to enhance their access to quality education and gender equality which will enhance their access to decent work and economic growth.
Education, Women, Music, Tertiary Institutions, South West Nigeria
Eco-Dramaturgy and the Interdependence of Nature, Structure, and Meaning In Nigerian Dance-Drama
This chapter addressed the absence of structured eco‑dramaturgical analysis in Nigerian dance‑drama and the wider lack of African‑centred ecological performance scholarship, highlighting the urgency of frameworks that treat performance as ecological knowledge. It examined how ecological meaning was constructed in four documented Nigerian dance‑dramas and developed an African‑rooted eco‑dramaturgical model. Data were drawn from a carefully selected, organised, and quality-controlled collection of 42 peer‑reviewed articles, 11 monographs, 18 book chapters, 27 critical performance reviews, and 9 published interviews with 46 Nigerian choreographers, directors, and dramaturgs, all produced between 1990 and 2025. Using a qualitative, interpretive design, the study analysed this material through a multi‑layered eco‑dramaturgical framework focusing on nature, structure, and meaning. The analysis showed that ecological meaning emerged through the interdependence of natural imagery, dramaturgical architecture, and semiotic interpretation, demonstrating that ecological consciousness was embedded in performance mechanics rather than added as a theme. The works embodied ecological ethics through movement, rhythm, spatial design, and cosmological symbolism, revealing African conceptions of environmental interdependence. This article contributed an African‑centred eco‑dramaturgical model, advanced debates in African performance studies, and expanded environmental humanities by positioning Nigerian dance‑drama as ecological knowledge and a cultural resource for sustainability discourse.
Eco-Dramaturgy, Interdependence, Meaning, Nature, Nigerian Dance-Drama, Structure
Unpacking Religion, Ethics and Society: Lessons from Nigerian Experience
Religion, Ethics and Society are tripartite human reality all over the world particularly in Nigeria. The increase in scientific and technological advancement across the globe is moving the world from the state of religiosity, morality and integration to that of secularism. In view of this trend, there is little or no regard for religion, ethics and societal issues. This is leading to a decline in the relevance of the value of religion, ethics and society. Religious traditions, beliefs and practices, ethical values and societal norms that used to be the hallmark of society are fast being eroded. The objective of this paper is to examine the relationship between religion, ethics and society. To achieve this objective, the paper employs a historical survey approach involving primary and secondary sources of data collection. The primary sources of data collection comprises of information obtained from oral interviews and secondary sources of data collection involves obtained from oral interviews and secondary sources of data collection involves information obtained from journals, books, Internet materials and conference papers etc. The paper in its findings noted that one of the aftermaths of the decline in the recognition of religion and ethics to the society is the increase in social and moral problems, corruption, juvenile delinquency, sexual immorality, ritualism, economic exploitation, insecurity, criminality and ethnicity. The paper concluded that there is need to bring to the fore the relevance of religion, ethics and society in order to create a morally stable society
Unpacking, Religion, Ethics, Society, Traditional, Experience and Lesson.
Kalu, Chukwuma Amogu PhD; Rev. Fr. Moses Patrick Sade, PhD
African Art Music Conducting Decolonizing Western Conducting in Twenty-First Century Southern Nigeria
Western art music conducting is Western in its origin, features; and performance practice. However, the export of the art to non-Western regions; and its use to direct non-Western music have combined to produce a mode of conducting that is not entirely Western. Thus, in twenty-first century Southern Nigeria, the use of Western conducting to direct Nigeria/African art music has enabled a transformation of the conducting through the incorporation of African and Western music idioms. Although the practice predates twenty-first century Nigeria, how African art music conducting decolonizes Western conducting has not engrossed adequate scholarly discourse. This paper engages non-participant observation of select Nigerian/African art music conductors in Southern Nigeria to discuss African art music conducting in Southern Nigeria. Findings indicate that African art music conductors in the region decolonize conducting by expanding performance objectives from singing and instrumentation to ensemble kinetics through musical cross-culturalism and performative syncretism. In view of the fore-going, it is worth noting that African art music conducting decolonizes Western conducting as an African-European cross-cultural and syncretic mode of conducting.
Conducting, decolonization, African art music, cross-culturalism; syncretism
Women and Music in Igbo Culture: Power, Gender and Performance
Women and music in Igbo culture represent a crucial intersection of art, gender, and socio-political power. In traditional Igbo society, music functions not only as entertainment but also as a cultural archive, a medium of communication, and an instrument of social control. While patriarchal structures have historically placed men in positions of overt political and ritual authority, Igbo women have creatively utilized music and performance as subtle yet powerful tools for negotiating gendered spaces, asserting agency, and sustaining community life. Through forms such as women’s dance ensembles, ritual dirges, satirical songs, and performance during life-cycle ceremonies, women engage in cultural practices that affirm their voices in public discourse. Women’s musical performances often embody resistance against marginalization, employing song as a form of protest and social commentary. For instance, satirical compositions, sometimes performed during communal disputes, serve to critique male dominance and highlight women’s socio-economic contributions. This performance not only reinforce solidarity among women but also expose the tensions inherent in Igbo gender relations. Moreover, women’s ritual and festival songs, such as those associated with Omabe or Ikoro performances, play critical role in community cohesion, while simultaneously positioning women as custodians of cultural memory. This paper therefore interrogates the dynamics of power, gender, and performance within Igbo women’s musical traditions. It argues that music constitutes a transformative resource for women in redefining their roles, challenging patriarchal constraints, and preserving cultural heritage. By situating Igbo women’s musical practices, within broader African feminist discourses, the study highlights how performance becomes a space of negotiation, identity construction, and empowerment. This research adopts a qualitative ethnographic approach, relying on oral interviews, observation, and the review of relevant literature.
pdROLE OF MUSIC IN CONFLICT RESOLUTION: USING MUSICAL THEATRE - ‘BLOOD ON OUR HANDS’ TO FOSTER PEACE AND UNITY IN NIGERIA
The role of music in conflict resolution is a burgeoning field of research, with growing recognition of its transformative potential in addressing societal divisions caused by violence and trauma. This paper explores the use of musical theatre, specifically Blood on Our Hands, an Afro-musical set in Plateau State, Nigeria, as a powerful mechanism for peacebuilding. The research investigates how music in musical theatre can foster unity and reconciliation among divided communities by engaging their cultural, emotional, and social dimensions. The play's narrative, deeply rooted in the ethnic and religious conflicts of Plateau State, showcases the profound role of music in mediating tensions and offering an alternative to conventional conflict-resolution methods. This paper analyses the thematic elements, music, and production of Blood on Our Hands to demonstrate how musical theatre can bridge cultural divides, facilitate interfaith dialogue, and provide a platform for healing the emotional wounds caused by conflict. Central to the analysis is the exploration of music’s ability to create shared emotional experiences that can lead to understanding, empathy, and social cohesion. By evaluating Blood on Our Hands as a case study, this paper argues that musical theatre offers a unique tool for conflict mediation that addresses both the psychological and social aspects of conflict. The results help expand the growing body of research on the role of music in peacebuilding and advocate for the integration of musical theatre into broader conflict resolution and peacebuilding initiatives, particularly in Nigeria and other conflict-prone regions.
musical theatre, peacebuilding, unity, interfaith dialogue
Weng Stephen Joseph; Samuel Yohanna Davou (PhD); Dakye Charles Job
COMBATING AGITATION FOR SECESSION FOR NATIONAL AND RESOURCE CONTROLTHROUGH MUSIC
In recent time, agitation for secession and resource control has become a general phenomenon in all geo-political zones in Nigeria. This phenomenon has remained unaddressed for quite sometimes in the history of the nation’s democracy, and the overbearing consequence of this scenario has led to retardation of national development. The over lingering of this situation could degenerate into total breakup of the various segments that constitute the Nigeria state. In this regard, this paper discusses the instrument of music through proper musical education of the older and younger generation, societal enlightenments, creativity and musical tourism in combating the agitation for secession and resource control. The paper suggested the effective application of music as a tool for enhancing national growth and development.
Secession, Music education, Creativity, National development
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