AWKA JOURNAL OF RESEARCH IN MUSIC AND THE ARTS (AJRMA)
AWKA JOURNAL OF RESEARCH IN MUSIC AND THE ARTS (AJRMA) welcomes contributions directed at increasing scientific, cultural and educational understanding of any aspect or area of music in music pedagogy, music technology, music composition, theory and analysis, dance and theatre, ethnomusicology, and historical musicology. Papers forwarded for consideration should not have been published or submitted for publication elsewhere. Such papers may be either a report of original empirical investigations containing systematic analysis of relevant data, or reviews, critiques and other contributions of a theoretical nature. Special encouragement will be given to studies carried out in naturalistic contexts.
Department of Music, Nnamdi Azikiwe University, P.M.B. 5025, Awka, Anambra State, Nigeria
PROTEST SONGS, LANGUAGE, AND SOCIAL COMMENTARY IN NIGERIA'S PRE AND POST 2023 ELECTION LANDSCAPE
This article examines the role of songs and language as mediums of protest, social commentary, and political mobilisation in Nigeria’s pre and post 2023 general election landscape. The purpose is to investigate how music reflects and shape public opinion on governance, corruption, elec toral integrity, and socioeconomic challenges, while functioning as a tool for both grassroots activism and elite political messaging. The study employs qualitative content analysis of seven purposively selected songs released or recirculated between 2019 and 2025 that achieved significant traction during this period. Data sources include lyrical texts, music videos, social media circulation patterns (YouTube, TikTok, Instagram, Facebook), news reports, archived discourse, and existing scholarly literature on music, language, and politics in Nigeria. Key findings reveal that pre election songs amplified youth disillusionment and calls for change through multilingual strategies (Pidgin English, English, Yorùbá, Igbo, Hausa) and satirical counter narratives, s uch as the Obidient Movement’s track mocking Bola Tinubu’s Emilokan declaration. Post election tracks shifted to expressions of grief, anger, and demands for accountability, exemplified by Eedris Abdulkareem’s Tell Your Papa . Protest songs sustained critique o f governance failures, shaped public discourse, mobilised sentiment, influenced voter engagement particularly among youth and impact systemic political transformation. The article concludes that protest songs, linguistic creativity, and social commentary remain vital to Nigeria’s democratic process, providing a resilient platform for marginalised voices and underscoring music’s enduring capacity to challenge power in a multi ethnic society.
Protest songs, Language, political mobilisation, social commentary, Election.
Daniel Ufuoma OMAREN; Tosin Samson OLAGUNJU
RE EVALUATING INDIGENOUS WEAVING PRACTICES IN NIGERIAN TERTIARY INSTITUTIONS: A CASE STUDY OF KADUNA STATE
This paper examined the state of weaving in Textile Section of Nigerian tertiary institutions using Kaduna State tertiary institutions as main focus. The survey and descriptive research designs was adopted for the s tudy. Two (2) research questions were proposed to guide the study. The total population used is 300. These consist of random selection of 100 populations from each of the three selected institutions that offer Fine and Applied Arts in Kaduna State. In elic it appropriate responses; the instrument used for data collection is a validated questionnaire titled “Scholastic Perception of the State of Indigenous Weaving in Nigerian Tertiary Institutions (SPSIWNTI)”. The respondents were to indicate the level of agr eement or disagreement in each column of stated options on a five point scale of Strongly Agree (AS), Agree (A), Disagree (D), Strongly Disagree (SD), and Undecided (UND). The calculated reliability instrument was 2.5 mean acceptances, otherwise known as u nacceptable. The results revealed lack of functional looms (especially the modern looms) and weaving materials, many of Nigerian tertiary institutions (especially Colleges of education) are not teaching weaving, lack of qualified man power (lecturers/weavers) in the system, massive closure of indigenous local industries, lack of interest among the students to study weaving as well as misconception that weaving is a course for females not for males, etc. It was therefore recommended among others that education minister should see that both traditional and modern looms are in stored in Nigerian institutions for ideal learning of indigenous weave production among the youth and blend the technique of production with westerners like that of “Ghana Kente weave” for modernization and promotion of cultural heritage and demand of indigenous Nigerian weave fabrics far and wide.
Indigenous loom, Modern loom, Nigeria, Re evaluation, Technology, Ter tiary Institution, Weaving
EFFECTIVENESS OF ANDROID PIANO MOBILE APPLICATIONS IN DEVELOPING HANDS ON MUSICAL COMPETENCIES AMONG PRESCHOOL CHILDREN IN OZUOBA, COMMUNITY IN OBIOAKPOR LOCAL GOVERNMENT AREA IN RIVERS STATE
This study examines the effectiveness of Android piano mobile app lications in developing hands on musical skills among preschool pupils. It investigates how these applications support practical skill acquisition, including finger dexterity, hand eye coordination, rhythm accuracy, keyboard awareness, sound recognition, a nd engagement in musical play. Anchored in the United Nations Sustainable Development Goal on Quality Education, the study responds to the limited empirical evidence on digital piano tools in early childhood music learning. Guided by Constructivist and Soc ial Constructivist theories, the research frames the Android piano app as an interactive tool that facilitates knowledge construction through exploration and teacher supported scaffolding. A mixed methods design combining cross sectional descriptive and qu asi experimental approaches was adopted. Participants included five music teachers and one hundred preschool pupils from five private schools in Ozuoba Community in Obio/AkporLocal Government Area in Rivers State. Findings showed that although all teachers were aware of Android piano applications, only 40% recommended them for home practice. The quasi experimental results revealed significant improvements in pupils’ hands on musical skills following the use of the application, underscoring its value as an effective instructional aid in early childhood music education. The study provides empirical evidence on the practical benefits of mobile piano applications in Nigerian preschool settings and offers implications for teachers, curriculum planners, and policymakers seeking to integrate digital tools to enhance hands on skill development.
Keywords: Android applications, digital learning, hands on skills, music education, preschool pupils
BETWEEN TRADITION AND TRENDING: CULTURAL RECEPTION AND MARKET PRESSURES IN YORUBA CINEMA
This study examines the interplay between audience behavior and the decline of Yoruba language cinema in Nigeria. Yoruba films have seen a decline in production and perceived quality, raising concerns about the survival of this culturally significant industry. Drawing on Cultural Reception theory and Uses and Gratifications models, as well as a policy analysis of Nigeria’s film regulatory framework, the paper synthesizes empirical data and case studies to explain shifting consumption patterns. It finds that audience preferences have moved toward sensational, short-form, and foreign-language content; widespread tolerance for piracy and free online access; and intensive engagement on social media, all of which have undercut the commercial viability of traditional Yoruba home videos. Digital streaming platforms and diaspora viewing have had mixed effects, offering new reach while amplifying formulaic storytelling to cater to broad audiences. Nigerian film policies (e.g., lax copyright enforcement, limited subsidies) have failed to check these trends. The study concludes that audience-driven factors (not merely declines in talent or technology) largely explain Yoruba cinema’s contraction, and recommends media literacy, stronger enforcement, and incentives for quality cultural content as remedies.
Audience Behaviour, Digital Piracy, Film Policy, Media Consumption, African Cinema
THE USE OF IGBO FOLK SONGS IN PROMOTING CONFLICT RESOLUTION IN UPPER BASIC SCHOOLS: A CASE STUDY OF NWAFOR ORIZU COLLEGE, DEMONSTRATION SECONDARY SCHOOL, AWKA, ANAMBRA STATE
The Igbo culture is enriched with different cultural practices and among all of them, Igbo folksongs are known to be one of the most essential and most engaging cultural practices. Igbo folksongs have long been part of the Igbo culture and tradition, as they serve as a medium for sharing values, beliefs and stories from the past. These Igbo folksongs can be utilized as an effective tool for teaching conflict resolution skills in basic school. This research aims to explore t he potentials of Igbo folksongs in shaping attitudes and behaviors that might result to conflict and to foster a culture of peace among basic school students. The research employed a quantitative survey design, utilizing a structured questionnaire as the primary data collection instrument, with teachers and students of upper basic schools constituting the study population. Findings revealed that integrating folk songs into classroom activities significantly enhances students’ engagement, fosters positive attitudes, and improve their ability to resolve conflicts collaboratively. The researchers conclude the paper by recommending the consistent use of the Igbo folksongs in educating students on how best to resolve conflict.
Folksong, Conflict, Conflict Resolution, the use of folksongs in conflict resolution, Basic schools
Chigozirim C. Chikaemerem; Ikedimma Nwabufo Okeke
KNOWLEDGE, CARE AND PRESERVATION OF THE HUMAN VOICE IN SOLO AND CHORAL PERFORMANCE
The human voice stands as the most intimate and expressive of all musical instruments. Unlike externally constructed instruments, it resides within the performer, functioning as a living instrument shaped by biological struc ture, psychological state, and artistic expression. This research analyses the human voice as both a biological and artistic instrument, exploring how the application of physiological knowledge, care, and preservation can impact choral and solo performance. The research also highlights the lack of attention paid to vocal health during performance practice, which leads to avoidable vocal fatigue and a reduced vocal lifespan. Drawing on the qualitative interpretive approach, this paper draws on vocal pedagogy, music psychology, and indigenous African knowledge systems to develop a holistic framework for voice care. The study revealed that voice quality and endurance are dependent on breath management, hydration/humidification systems within the body's structure s, posture/balancing of the body on the head or neck joints, emotional regulation, and pedagogical awareness. Research findings in the paper suggest that individuals need to develop integrative strategies to comprehend, care for, and preserve this mysterious organ if they wish it to remain useful in their lives, both as performers and teachers.
human voice, vocal pedagogy, choral performance, solo singing, voice health, indigenous frameworks
THE ROLE OF MUSIC IN CONFLICT RESOLUTION: ANALYSING THE IMPACT OF MUSICAL INTERVENTIONS ON ETHNO RELIGIOUS CRISIS IN JOS, PLATEAU STATE, NIGERIA
This study explores the role of music in conflict resolution, focusing on the ethno-religious crises in Jos, Plateau State, Nigeria. Over the past two decades, Jos has been the epicentre of violent clashes between indigenous groups, such as the Berom, and settler populations, including the Hausa-Fulani. These conflicts have caused significant loss of life, displacement, and property destruction. Amid these challenges, music has played a dual role, both as a source of division and a potential tool for peace. The research adopts a qualitative methodology, incorporating in-depth interviews with local musicians, community leaders, and residents, along with focus group discussions and field observations. Additionally, the study analyses traditional folk songs and gospel music used in the region to examine their emotional and psychological impact, as well as their effectiveness as peace-building tools. The findings reveal that music can either escalate tensions or promote reconciliation, depending on the context and intent behind its use. Specifically, songs like "Zaman Lafiya" have been instrumental in fostering unity, while others with aggressive lyrics have exacerbated divisions. This paper emphasises the importance of context, cultural understanding, and the strategic use of music in peace efforts. By analysing the impact of musical interventions in Jos, this research provides valuable insights into how music can serve as an effective tool for peacebuilding in Nigeria and beyond.
: Music, Conflict Resolution, Jos, Ethno Religious Crises, Peace building
DAVOU, Samuel Yohanna; DAVOU, Dung Pam; DAKYE, Charles Job
FROM HIGHLIFE TO STREET POP: THE EVOLUTION OF IGBO POPULAR MUSIC IN THE NIGERIAN MUSIC SCENE
This paper explores how music performance acts as a vehicle for intercultural dialogue, tracing the evolution of Igbo musical identity from Highlife to Street pop genres in Nigeria. By examining the stylistic and thematic transitions, this study argues that Igbo popular musicians have consistently negotiated cultural borders, infused traditional elements into popular trends, and contributed meaningfully to national and global musical narratives. Through historical review, content analysis, and cultural criticism, the paper reveals the continuity, hybridity, and resilience embedded in Igbo music performance practices. The primary data for this paper were generated through an observational method of monitoring the Nigerian popular music scene, especially the highlife genre and its emerging styles and hybrids. The secondary data were sourced through online articles, texts and discographies of selected musicians. The theoretical foundation of this study is drawn from the Social Change Theories, specifically from Evolutionary and Modernization theories, respectively. The standpoint of these theories focuses on societal transformation over time with encompassing shifts in societal structures, relationships, and cultural norms. This study explores the key changes in the musical practices of selected Igbo popular musicians across generations. While highlife music continues to hold a special place in the Nigerian music scene, Street Pop has equally emerged as a dominant force in the industry, shaping the soundscape and music performance style in the twenty first century.
Music performance, Intercultural dialogue, Street pop, Highlife, Igbo music
THE INTRICACIES OF OGENE MUSIC RECORDING: EXPLORING SAMPLING TECHNIQUE AS A LEEWAY
Ogene music is a traditional music genre that is synonymous with the south eastern part of Nigeria. It features a blend of various sizes ofogene instruments with varied melo-rhythmic tones reflecting the rich Igbo cultural heritage. Recording the music genre in the studio is faced with a myriad of technical challenges, owing to the complexities in its rhythm and acoustic nature, and therefore calls for serious technical attention. Through personal experiences and experiments, review of related literature and interviews, the authors realized that the issue of choice of microphone settings is very crucial in recording ogene music. The study therefore, emphasizes proper microphone usage and suggests sampling technique as an innovative means of achieving flexibility and creative freedom, while retaining the true and live nature of the instrument.
Vincent Chukwuma Udeozor; Alvan-Ikoku Okwudiri Nwamara
NEGOTIATING SOCIO ECONOMIC CHALLENGES THROUGH AFRICAN ART MUSIC: A READING OF DAY DAYỌ̀OYÈDÚOYÈDÚǸ NEPA ’
The Social and economic aspects of music compositions remain unexplored in the intercultural compositions of Nigerian art music composers. Akin Eúbà states that composers have the obligation to create music that is relevant to their own people and all peop le at large. Eúbà’s pronouncement includes modern art compositions that are relevant to the Nigerian situation, but extend beyond cultural and religious spheres to social, economic, and political issues in such a society . ‘Nepa’, an acronym for National El ectric Power Authority, is the institutional structure responsible for coordinating and maintaining electricity supply throughout the Republic of Nigeria. Due to the inefficient and unreliable services of this sector over the years, the Nigerian government in 2005 settled for privatization to unbundle power utility across the states. However, power outages remain the norm in the country. Even though the sector has ceased to exist as ‘Nepa’, a majority of the Nigerian populace persists in calling the power s ector by the name ‘Nepa’, which has become a signifier of this inefficiency. DayDayọ̀OyèdúOyèdúǹ, a Nigerian composer of art music, addressing the corrupt practices of the electricity sector, has composed a choral cantata piece with the title ‘Nepa’. ‘Nepa’ is a satirical piece that critiques the corruption in the Nigerian power sector. Through this composition, OyèdúOyèdúǹ stages a kind of activism by taking this discourse from the political realm into the concert hall. Effectively, he projects and reflects a ‘national voice’ for the masses through the music. This paper examines the tensions and resoluti ons articulated in this music through a close reading and textual analysis of the music. It identifies compositional techniques (hocket, modulation, word painting, etc) that convey social meanings, and investigates the manner in which music functions in cr eating meaning in broader social contexts in Nigeria. This piece particularly, exemplifies Eúbà’s call for a socially relevant African art music.
African art music, socio economic challenges, close reading, social meaning, intercultural music.
RETHINKING ARTIVISM IN CONTEMPORARY NIGERIAN MUSIC: A STUDY OF FOLARIN FALANA’S THIS IS NIGERIA AND JOHNNY
This study examines socio political artivism in contemporary Nigerian music, focusing on Folarin Falana’s This Is Nigeria and Johnny. Falz, a prominent Nigerian rapper, actor, and lawyer, leverages his music to interrog ate systemic failures in Nigeria, including corruption, police brutality, insecurity, and religious hypocrisy. Using content analysis, the study applies Feldman’s art critical performance theory to examine the thematic, structural, and performative dimensi ons of the selected songs. This Is Nigeria adapts the performative framework of This Is America to the Nigerian sociopolitical context, combining lyrics, imagery, and rhythm to highlight governance challenges and social decay. Johnny narrates the extrajudicial killing of a young man, revealing the human consequences of institutional corruption and police impunity. The analysis demonstrates that Falz’s music functions as both a reflective archive of societal challenges and a call for civic engagement, illustrating how political artivism can raise awareness and inspire collective action. By situating Falz’s songs within the framework of artivism, the study contributes to understanding music as a medium for social critique and transformative activism in contemp orary Nigeria.
Contemporary Nigerian music, social critique, artivism and transformative musicology
THE ROLE OF INFORMATION AND COMMUNICATION TECHNOLOGY IN MUSIC PRODUCTION
The predominant focus of research in the music industry has been centered on the generation and marketing of songs and albums, with a restricted examination of the influence of information and communication technology (ICT) software and tools on various aspects of music production. Various tools and applications employe d in music production include digital sheet music and notation software, virtual instruments and plugins, acapella makers, digital audio workstations (DAWs), copyright detection applications, video mixing and streaming software, live performance applicatio ns, music distribution software, and electronic instruments, among others. This study adopted a qualitative research approach to examine the influence of ICT in the field of music production. This involves in depth observation as well as the review of relevant literature, out of which discussions are made. This study examines the challenges related to the use of ICT in music production while also offering suggestions on how to tackle them. ICT has undoubtedly contributed to the efficient production of music and expanded the range of opportunities accessible to musicians. The implementation of this technology has resulted in the ease of the creation process and subsequently revolutionized the global distribution and consumption of music.
ICT, Music, Production, technology, Digital Audio Workstation, Digital sheet music
NIGERIA AS A COUNTRY OF PARTICULAR CONCERN: REFLECTIONS ON ASA’S “ FIRE ON THE MOUNTAIN
Nigeria is an independent sovereign state with its own leaders. It got independence since October 1 st , 1960 with a constitution to guide the conduct and benefits of her citizens. It is currently running a democratic governance with three tiers of governance (the executive, judiciary and legislatur e), whose duties amongst others are to protect the lives and property of citizens (by provision of security) as well as welfare (including basic amenities like health, food security, affordable education and jobs etc). But the government have been insensit ive and docile on this now leading to severe social vices including injustice, insecurity, insurgency, kidnapping, sea pirates, tribalism, corruption, religious intolerance, inequality, nepotism, massacre, human slaughter, terrorism, banditry, territorial expansionist agenda by Boko haram, Iswap as Islamist jihadist sect, selective academic policy imbalance, and parallel laws amongst Christians and Muslims (ISLAM) states now making it an untrue and non egalitarian society. These forced the American governme nt to proscribe it as a country of particular concern(CPC) by its president Donald Trump through congress legislative recommendations, a moved welcomed by the United States Commission on International Religious Freedom (USCIRF), effective Saturday November 1 st , 2025, referencing Christian’s genocide as a reason. But there had been signals to curb this menace through national dialogues including confabs and music to mention a few. Retrospectively, Asa’s music “Fire on the Mountain” is apt for reflections on the Nigeria’s state. Released in 2007, it uses literary devices (figures of speech) and others to caution and alert the government on this looming tragedy. This paper appraises the song text composition of her music. Using conglomerated creative based musical so ng text, socio political, and cultural analytical design, in addition to collected primary and secondary sourced data of literatures (from multi media and legislative proceedings),the paper concludes that philosophical statements especially from musicians, if adhered to, can save a nation as to be forewarned is to be forearmed. It recommends that proverbs, parables, and idiomatic expressions remain vital cultural tools for guiding ethical practices in African societies.
proscription, retrospect, c ountry of particular concern and song text.
Alfred Gelles Albert; Esinkuma James Amaegbe
THE YORUBA LANGUAGE AS THE ORIGIN OF FOLKSONGS IN ILE-IFE: A CULTURAL, LINGUISTIC, AND MUSICAL EXAMINATION
This study examines the Yoruba language as the basis of folksongs in Ile Ife, analysing how these songs convey moral values, strengthen social cohesion, and safeguard cultural heritage. Utili sing an interdisciplinary approach that incorporates cultural studies, linguistics, and ethnomusicology, the research investigates the tonal, semantic, and aesthetic aspects of the Yoruba language and their influence on the invention, performance, and tran smission of folk songs. Data were gathered by participant observation, audio recordings, and semi structured interviews with local artists, elders, and educators, utilising a qualitative ethnographic methodology. This study utilises two Yoruba proverbs as its conceptual framework: “ Orin la fi n gbé ìtàn l ọ ” (“It is through song that histor are transmitted”), which underscores the role of songs in preserving cultural memory, and “ Eni tí kò m mọ́ orin, kò m mọ́ ìtàn He who does not know song does not know the history ”), which emphasises the intrinsic connection between musical expression and cultural knowledge. The results indicate that the Yoruba language serves as both a repository of cultural memory and a generative medium that preserves cultural legacy and performance traditions. The research illustrates that Yoruba folk songs in Ile Ife encapsulate educational, ethical, and communal principles. The study concludes that Yoruba folksongs are critical for the preservation of the Yoruba language as a valuable cultural asset and advocates for systematic documentation, digital archiving, and curricular integration to conserve this oral heritage for future generations.
Yoruba language, traditional songs, Ile Ife, folksongs, cultural proverbs.
Ademola Gbenga Eluwole; Adegoke Elisha, AFE
MUSIC AS ECOLOGICAL TRANSCRIPT: INTRODUCING ECO EPISTEMOLOGY THEORY AS A FRAMEWORK FOR CIVIL MILITARY MUSICAL RELATIONS IN NIGERIA.
In Nigeria’s evolving civil military landscape, music remains an underexplored medium for strategic engagement and cultural diplomacy. Existing scholarships rarely examine how musical forms reflect ecological consciousness or foster trust between defense institutions and local communities. This study addresses that gap by introducing Eco Epistemology Theory, a decolonial framework that conceptualizes music as a sonic transcript of land shaped behavior and communal worldview. It is a timely intervention in musicology, offering new insights into sound as epistemic infrastructure. The study aims to (1) conceptualize Eco Epistemology Theory as a framework for understanding music’s ecological logic in civil military relations; (2) examine how musical forms like polyrhythms, melismatic phrasing, and call and response can be operationalized by the military to build trust and cultural alignment; and (3) evaluate the strategic outcomes of such engagements in counterinsurgency and outreach. Guided by Eco Epistemology Theory and supported by Cultural Performance, Strategic Communication, and Social Identity theories, the study employs Critical Qualitative Content Analysis and Ecological Musicological Mapping. Data sources include NAF music videos, lyrics, broadcasts, and ethnomusicological literature. Findings reveal that ecology derived music fosters epistemological alignment, trans forming military perception from occupier to partner. This contributes to emotional resonance, cultural legitimacy, and sustainable peace building. The study advances musicology, civil military studies, and decolonial theory, recommending sound based engagement protocols and further research into ecological soundscapes as strategic tools.
: Alignment, Consciousness, Ecology, Identity, Trust
Onyee N. Nwankpa & Albert O. U. Authority
REIMAGINING AFRICAN PIANISM: A DIALOGICAL INQUIRY INTO ONYEJI’S DRUMMISTIC COMPOSITIONAL PHILOSOPHY
Although African pianism holds profound cultural depth and creative ingenuity, it remains largely unexplored within mainstream musicology. Its rhythmic and structural innovations are often overshadowed by Eurocentric compositional models, leaving a critical gap in the understanding of non-Western musical thought. This study responds to that gap through a dialogical inquiry into Christian Onyeji’s Drummistic Composition Technique, a compositional philosophy grounded in the structural logic of indigenous drumming. Framed by Episto-Musical Pedagogy theory and aligned with Sustainable Developmental Goals (SDG) 4 - Quality Education, the research advances culturally responsive pedagogy and epistemic diversity in music education. It explores how Onyeji’s technique reimagines composition through pulse, repetition, and communal memory, offering a rhythmic epistemology that challenges dominant notions of authorship, form, and curriculum. Using a qualitative, interpretive design, data were collected via a structured written interview and were analyzed thematically following Braun and Clarke’s framework. The findings reveal that Drummistic Composition not only embodies indigenous musical knowledge but also extends and resolves earlier theoretical postulations by Euba. The interview functions as both testimony and theory, serving as a living archive of African compositional thought. This research contributes to decolonial musicology and invites further inquiry into curriculum reform and intercultural composition rooted in indigenous epistemologies.
African Pianism, Decoloniality, Dialogical Inquiry, Drummistic Composition, Epistemology, Rhythm
RESEARCH EDUCATION ON UMUADA MUSIC TRADITION: TOWARDS AN INCLUSIVE MUSIC EDUCATION
Scholarship on classroom music education is huge and has extensively been criticized amongst other things is its divorce from Nigerian music culture. Huge studies as well abound on umuada as gender studies but there is paucity of literature on their musical arts as an indigenous music pinpointed on their engagement with environmental humanity. The contention of this thesis therefore, is for research education where the school music education is complemented with the indigenous music of a community towards preserving our indigenous music tradition and making our school music education Nigeria culture relevance.The research adopted a qualitative research design. The population of the study was a consensus population of the 300 level NCE music students (3) and (10) music lecturers of Alvan Ikoku Federal University of Education, Owerri, Imo State. We purposively sampled ten members of the umuada. We used participant observation, interviews, musical and textual analysis in the context of ecomusicology. Umuada whose musical works represents the dominant trends on environmental humanities: be nnam kam obodo oyibo, kchikwe, onye aworo ala and others were reviewed. Eclectic theory guided the study. Arising from the finding, we argue that research-education towards connecting the community and the school is sine qua non to having a inclusive music education in the contemporary. We recommend a music tradition where our indigenous music forms the content of school music instruction thereby preserving our cultural heritage to print and preserve our identity in the global confluence.
research education, egwu umuada , ecomusicology, sustainability, inclusive music education,
Calista A. N. UGWU , Angelina A. OSELE , Cyril O. AJAMGBE
IMPROVING MUSICAL ARTS EDUCATION IN NIGERIAN SCHOOLS THROUGH TEACHERS’ COMPETENCY
The importance of music education in Nigerian schools for the training and upbringing of a Nigerian child from the elementary stages (lower cadres) up to the highest level of education is essential to societal educational advancement. The statemen t of the problem of this study shows that many teachers especially those in primary and secondary education levels are not adequately trained and therefore needs further training. While the method employed for data collection is through literature review o f relevant works from journals, books, online sources etc. In this regard, it becomes imperatives to retrain and prepare the teachers or educational facilitators who will be able to interpret the curriculum through competencies in order to facilitate and i mprove upon their teaching methodologies (such as using child centered approach, demonstration method, skills acquisition through laboratory experiments etc.) for the attainment of the required educational objectives. This article is focused on improving m usical arts education in Nigerian Schools through teachers’ competency. The highlights of this paper include the roles of a teacher in classroom management, the problems militating against teachers’ effectiveness in curriculum interpretation and classroom management, required steps toward improving on teachers’ competencies in music arts education etc. Recommendations were made involving the input of the teachers, school authorities, the government, the nongovernmental organization (NGO), etc. Through their collective responsibilities and collaborations, the achievement of improving on teacher’s competencies in both indoor and outdoor musical activities that will facilitate acquisition of skills by the pupils, students or the trainees in the 21 st Century will be made possible.
Teachers, schools, musical arts education, teachers’ competency
AWKA JOURNAL OF RESEARCH IN MUSIC AND THE ARTS (AJRMA), VOL 18 NO 2, 2025
AWKA JOURNAL OF RESEARCH IN MUSIC AND THE ARTS (AJRMA) Vol 18 No 1, 2025
AUTEURSHIP IN NOLLYWOOD: CRAFTING DIRECTORIAL STYLE WITH MOOD, MESSAGE, AND AESTHETIC
Nollywood – Nigeria’s prolific film industry – has evolved from low‑budget home videos to globally distributed cinema, driven in part by visionary directors. This paper examines how directors shape a film’s tone (its mood and style), its thematic concerns (underlying messages), and its visual language (cinematography, color, composition) within Nollywood. We draw on both film-theory frameworks (such as auteur theory) and filmmaking practice to analyze how individual filmmakers infuse their work with distinctive sensibilities. Case studies include Kunle Afolayan, Tunde Kelani, Kemi Adetiba, Niyi Akinmolayan, Obi Emelonye, and others. We argue that Nollywood directors often function as auteurs: they impose recurring motifs, aesthetic choices, and narrative strategies that reflect personal vision, cultural heritage, and industry context. By comparing scholarly analysis and industry commentary, we illustrate how directors’ choices in lighting, camera work, narrative focus, and cultural content concretely shape Nollywood’s cinematic identity.
CONTEXTUAL FACTORS IN MUSICAL PERFORMANCE IN CHILDREN'S ENSEMBLES: A CASE STUDY OF EKEMINI THEATR TROUPE, UYO, AKWA IBOM STATE
This ethnomusicological study investigates the interplay of contextual factors and social dynamics influencing musical performance and collaborative creativity within children's ensembles in Ibibio society, Akwa Ibom State, Nigeria. While existing research often focuses on informal music or individual instrument pedagogy, a significant gap remains in understanding structured children's troupes. This paper addresses this by examining the Ekemini Theatre Troupe as a case study, exploring how social, cultural, educational, and environmental elements shape their performances and collaborative processes. Employing a qualitative case study design with interviews, observations, and document analysis, and framed by Schechner's performance studies paradigm, the research reveals how elements of play, games, theatre, and ritual are integral to the troupe's social dynamics and musical development. The findings highlight the critical role of communal learning, family-like structures, and a blend of competitive and collaborative interactions in fostering creativity and cohesion. This study offers a holistic understanding of young musicians' development in a formal, culturally embedded setting, contributing new theoretical lenses to ethnomusicology and music education.
CHALLENGES OF EMERGING UNDERGRADUATE MUSIC COMPOSERS IN THE DEPARTMENT OF MUSIC, NWAFOR ORIZU COLLEGE OF EDUCATION, NSUGBE, ANAMBRA STATE
Despite an increasing interest in music composition and music careers among emerging young students, numerous challenges hinder their creative and skills development, which, if left unchecked and unaddressed, may impede the success of their professional music careers. Existing literature provides limited empirical insights into this research sphere, particularly in the context of undergraduate students in higher education and from a less developed country perspective. In other words, there is an under-exploration of research on the issues that aspiring young music composers encounter, especially from less developed countries, which is very essential, given that there may be cultural and contextual differences in the challenges such aspiring youth face, of which extant literature has overlooked and failed to account for. Because we wanted to bring this topic home, focusing on our unique struggles, this study aimed to investigate the challenges faced by emerging undergraduate music composers within the context of higher education in a less developed country, specifically, in the Department of Music at Nwafor Orizu College of Education, Nsugbe, Anambra State, Nigeria. Drawing from the literature review, a questionnaire was developed and electronically distributed, from which survey data were collected from undergraduate students at the mentioned higher education institution. Following careful statistical, specifically descriptive, analysis, our key findings revealed that the major challenges faced by emerging young music composers in the studied context, in no order of importance, include; lack of inspiration from where musical ideas are drawn, limited time to focus on developing this side of them, not to mention the lack of creative and technical skills, inadequate educational support and insufficient or poorly developed academic curriculum, which leaves them feeling under-prepared for future career, financial instability, and poor emotional wellbeing and mental health. These key findings revealed a significant gap that warrants attention from all stakeholders involved. As a result, this study also made some recommendations, which include that addressing such challenges requires a holistic approach to develop an appropriate educational environment for aspiring young music composers to grow their skills, including the need for mentorship, access to psychological support, financial support, and even exposure to opportunities.
̀THE DIRGE MUSIC OF OKE ILA ORANGUN: A PERSPECTIVE OF SOUL IMMORTALITY
A community situated in Ifedayo Local government of Osun State, Nigeria, Oke Ila Orangun is nuanced with cultural heritage exemplified by orinòkú (dirge music) that is solely performed for the dead. This study attempted samples of such songs with a view to analyzing their textual content and their implications in the instance of this aged long tradition. Premised on the theoretical frame work of human immortality propounded by Socrates and Plato, which consents to survival of human soul after death, interviews, observations, audio tape documentation alongside relevant scholarly writings were harnessed to amass information that is germane to this study. Inferences from this study endorsed intimacy of Oke Ila Orangun community with the cultural heritage of soul immortality which dirge music resonates regardless of the religious affiliation of the people. Premised on the song texts, the study indicated the acclaimed exulted realm of life accorded to the dead by the living, the latter being fortified with superior power; hence, they are capable of surmounting every life challenge. In addition, three states of immortality which consolidate the belief of Oke Ila people in soul eternalization were unraveled: physical (reincarnation), translocation, and spirit entities. Regardless of religious inclination and civilization among other factors, it could be concluded that the belief of Oke Ila people in soul immortality, underpinned by dirge music, is staunch, a stance that to a degree may survive for a wide space of time.
USE OF MICROPHONES BY NIGERIAN SINGERS: STUDIO/STAGE ENGINEERS’ PERSPECTIVES
This research examines issues bothering on microphone usage among Nigerian artistes, exploring the trends, preferences and their significances. As an essential component in contemporary music production and live shows, microphones have greatly impacted vocal expression, sound clarity, and stage presence; yet a good number of Nigerian artistes face challenges in using the microphone either on stage or studio. Through personal experiences, interviews, market analysis, and review of literature, this paper investigates current preferences for microphones by Nigerian music artistes, such as the use of wireless systems, vintage condenser microphones for studio sessions, and the incorporation of sophisticated sound engineering tools. It also x-rays Nigerian artistes’ ability in customizing global technologies to fit local styles. Summarily, the study portrays the microphone not only as a technical device, but as an enabler of creative identity and professionalism in the music industry, and emphasizes the effect of microphone quality on performance’s credibility, audience interaction, and overall artistic representation.
Vincent C. UDEOZOR & Alvan-Ikoku O. NWAMARA
"THE IMPACT OF ART, MUSIC, AND RESISTANCE IN SOUTH AFRICA AND NIGERIA, 1970S-ONWARD: EXPLORING THE INTERSECTION OF APARTHEID/POST-APARTHEID AND PROTEST ART"
Art has long served as a powerful tool for social commentary, resistance, and propaganda. This study explores how artists in Nigeria and South Africa have employed various media—particularly visual art and music—to challenge oppressive regimes, promote social change, and shape political thought. It critically examines the role of art in responding to apartheid, post-apartheid realities, and protest movements in both countries.Through a comparative analysis, the research investigates how artistic expressions reflect and confront systemic racism, oppression, and resistance. The study is grounded in Critical Race Theory, which provides a framework for understanding the intersection of race, power, and representation in art. A secondary research methodology was adopted, relying on scholarly articles, online resources, and conference reports to reach its findings. The primary objective is to evaluate the impact and role of artists in shaping anti-apartheid, post-apartheid, and protest art discourses. A secondary objective is to examine selected artists and their works, highlighting their contributions to the fight against racism and oppression. Lastly, the study traces the trajectory of resistance art from the 1970s to the present day in Nigeria and South Africa. This research is original in its comparative scope and offers insights into the socio-political influence of art across different historical contexts.
FROM ROOTS TO INNOVATION: THEMATIC METAMORPHOSIS AND TRANSFORMATION OF NIGERIA'S MODERN ART MUSIC SCENE
This article explores the thematic and structural transformation of Nigeria’s modern art music, tracing its evolution from indigenous musical idioms through colonial imprints to contemporary innovation. It aims to examine how Nigerian composers have negotiated cultural identity, spirituality, and modernity through a blend of traditional motifs and Western compositional t echniques. The study addresses the gap in scholarship regarding the interplay between heritage and innovation in Nigerian art music narratives. Employing a historical ethnomusicological approach alongside thematic hermeneutic analysis, the research draws o n archival records, musical scores, and oral testimonies. Theoretical grounding is provided by Postcolonial Theory focusing on hybridity and decolonial discourse and African Aesthetics, emphasizing communal symbolism and indigenous knowledge systems. Focusing on key works by composers such as Fela Sowande, Ayo Bankole, and Joshua Uzoigwe, the study identifies recurring themes of hybridity, spiritual resonance, and cultural reclamation. Findings reveal a deliberate metamorphosis in both content and form, underlining the resilience and ingenuity of Nigerian art composers. The article concludes that Nigeria’s modern art music is not merely an artistic evolution but a dynamic site of cultural reimagination. This underscores its relevance in contemporary African scholarship and global musicological discourse.
REVIVING INDIGENOUS MUSICAL HERITAGE THROUGH SMART ARCHIVAL TECHNOLOGIES: AN EARLY CHILDHOOD EDUCATION PERSPECTIVE ON COMPARATIVE EPISTEMOLOGICAL FRAMEWORKS
The global decline of indigenous musical heritage poses a significant threat to cultural identity and sustainability. This paper explores how smart archival technologies can support the preservation and revitalization of these traditions from an Early Childhood Education (ECE) perspective. It introduces a comparative epistemological framework that connects indigenous knowledge systems with digital tools to enhance the transmission of orally rooted musical forms in early learning settings. Focusing on the foundational years of education, the study examines how interactive technologies and culturally responsive pedagogies can introduce young learners to the tonalities, rhythms, and cultural contexts of indigenous music. By situating these approaches within broader epistemological discussions, the paper highlights tensions and bridges between Western educational paradigms and indigenous ways of knowing. The paper critically analyzes tools such as multimedia storytelling, digital archives, and community-led educational content, emphasizing ethical collaboration and indigenous agency. Case studies illustrate how integrating smart technologies into early learning environments can transform static repositories into dynamic, participatory ecosystems for intergenerational knowledge transfer. The research advocates for a participatory design approach where indigenous educators, families, and communities actively shape educational resources. It concludes with recommendations for policy and curriculum development that support culturally respectful, developmentally appropriate, and epistemologically informed practices—aligning technological innovation with cultural restitution.
Babalola Sunday Oludele & Fowowe Sunday. Simeon
MUSIC AND COMMUNICATION IN THE TRADITIONAL ACTIVITIES OF THE OSHIMILI COMMUNITIES OF DELTA STATE, NIGERIA
Communication is a vital tool to understanding the make-up of every community and its behavioral attitudes towards the building of a nation. Nigerian society in general relies on communication to disseminate duties and distribute vital information that will help to keep the nation in order. The world therefore needs vital communication to carry out important duties that will help keep things going among bodies that make up every institution that exists in nation building, starting from family to governmental bodies. The need to delve into the traditional activities of the Oshimili community involves a deep probe into the musical traditions of the people and its communication system. Music being the main source of communication amongst these communities has also helped in understanding the traditional practices and building of the people. This paper will not only look into the musical practices and traditions of Oshimili communities, it will point out the communication processes that exist in the various traditional activities of the community and the roles music play as communicative device to maintain and uphold theirtraditional belief systems. This paper relied on observational methods, and some literatures on the history of the community and other related literatures for data collection. It also conducted oral interviews with persons knowledgeable in both the musical and traditional activities in the community.
Uche, Maureen Ada & Nmadu, Florence Nkechi
IMPACT OF ARTIFICIAL INTELLIGENCE (AI) ON IGBO TRADITIONAL MUSIC AND CULTURE: TOWARDS FOSTERING ENTREPRENEURSHIP AMONG SECONDARY SCHOOL STUDENTS, FOR SUSTAINABLE DEVELOPMENT
This study examined the impact of artificial intelligence (AI) on shaping Igbo traditional music and cultural practices for fostering entrepreneurial mindsets and skills among secondary school students for sustainable development in South East Nigeria. The need for the study arises due to a lack of knowledge on how AI can be leveraged to promote cultural entrepreneurship for sustainable development. A survey research design was used for the purpose of the study. The population of the study is all 40 creative and cultural teachers in the South East Nigeria. The sample of the study was all the 40 cultural and creative arts teachers hence; no sampling technique was adopted by the researcher. Two research questions guided the study. A 27-item statements/questionnaire were used to collect data from the respondents(teachers). The instrument was validated by two experts in Department of Music another expert in Cultural and Creative Arts in Department of Arts Education and one expert in Measurement and Evaluation all from Faculty of Education University of Nigeria, Nsukka. The instrument yielded the following reliability estimates of 0.89 using Cronbach Alpha method. The result was analyzed using mean scores and content analysis. The result revealed that Igbo traditional music and cultural practices play a role in shaping entrepreneurial mindsets and skills among secondary school students like hard work, creativity, innovation, accountability, risk taking, problem solving, among others. The research also reveals that the role Artificial Intelligence (AI) play in enhancing the development of entrepreneurial mindsets and skills among secondary school students through Igbo traditional music and cultural practices for sustainable development are through the use of different components like Virtual and Augmented Reality (VR/AR) for Providing immersive and interactive learning experiences in Igbo traditional music and cultural practices among others. It was recommended among others that the educators and policymakers should encourage and support the use of AI in developing cultural entrepreneurship initiatives and programs that will enable students acquire entrepreneurial mindsets and skills for sustainable development.