AWKA JOURNAL OF RESEARCH IN MUSIC AND THE ARTS (AJRMA)
AWKA JOURNAL OF RESEARCH IN MUSIC AND THE ARTS(AJRMA) is a publication of Department of Music, Faculty of Arts, Nnamdi Azikiwe Unversity, Awka, Nigeria.
ENHANCING COMPUTER-BASED MUSIC ASSESSMENT THROUGH MULTIMEDIA INTEGRATION: AN EXPLORATIVE APPRAISAL OF JAMB AND OTHER NIGERIAN PUBLIC EXAMINATION BODIES
The rise of artificial intelligence (AI), the importance of public examinations, and the ongoing challenges facing assessment systems underscore the need for digitally-driven approaches to restore public trust and ensure the reliability of these exams. It is evident that the assessment of Music by Nigerian public examination bodies lacks the impactful integration of multimedia, such as innovative and interactive Music items enabled by Information and Communication Technology (ICT). This absence of innovation in Music assessments has negatively affected the credibility of Nigeria’s examination bodies and diminished candidates' cognitive and aural skills. To date, the National Examinations Council (NECO) and the West African Examination Council (WAEC) have not adopted technological tools for Music assessment. Although the Joint Universities Preliminary Examination Board (JUPEB) and the Joint Admissions and Matriculation Board (JAMB) have introduced computer-based Music assessments, these processes remain vulnerable to human interference and potential manipulation of musical scores. Currently, Nigerian high-stakes examination bodies still lack interactive and innovative Music items in their assessments. This paper takes an expository approach, advocating for the adoption of innovative technologies and digitalization in Music assessment. The research outlines the components and benefits of technological innovations in assessment digitization, concluding that 21st-century digital assessments and enhanced technological controls are critical to ensuring credible high-stakes exams. The paper recommends that NECO and WAEC introduce Computer-Based Testing (CBT) for Music assessments while retaining Paper-Pencil Testing (PPT) for theory, and calls for the inclusion of interactive and innovative Music items across all current and future high-stakes examination bodies, rather than relying solely on limited notation software.
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A STUDY OF MGBAGA CULTURAL DANCE OF OBIOFIA UMUENEM OTOLO NNEWI IN NNEWI NORTH LOCAL GOVERNMENT AREA, ANAMBRA STATE
Dance music plays an important role in a typical Africa society, therefore the researcher investigate the Mgbaga dance music of Obiofia Umuenem Otolo Nnewi North Local Government Area. As an ethno musicological study, this work delved into the musical activities of the aforementioned group, their origin/historical background, costumes, their place of rehearsals/performance. The data for the research was sourced through relevant literatures, oral interviews and research assistants. Findings show that rural and urban migration among the members of the Mgbaga dance group has really affected their musical activities. As a cultural art, the act of musical art performance is seen by the people of the community as a means of sustaining and transmitting the different cultural ethos of the community to the next generations, this they do by involving their young ones (males) in early musical activities such as initiating them to dance group in the community. The researcher found out that the group has codes and conducts that serve as a platform for individual/collective reformation and development of their members.
Adirika, Uzoma Nzubechukwu & Okeke, Ikedimma Nwabufo (PhD)
RACHEAL OLATOUN SOETAN: A STUDY OF HER LIFE, MUSIC, AND LEGACY IN THE NIGERIAN GOSPEL MUSIC SCENE
This study aims to examine Toun Soetan's personality profile, highlighting her music endeavours and life experiences to enhance comprehension and recognition of her societal impact, particularly within the realm of gospel music. The research work made use of information and documents from the internet, past interviews, works, and textbooks that expand on performance. The researcher was engaged by an unstructured interview method whereby Evangelist Mrs. Racheal Olatoun Soetan was interviewed. The results of the research work show that the texts of her songs are all based on Christian life. Most of her words are based on biblical aims and objectives. The life and accomplishments of the musician highlighted in this piece demonstrate that a person's difficult past does not have to hinder their success. Additionally, it seeks to offer a deeper understanding of Nigerian gospel music as a sub-genre of Christian religious music and offers guidance for aspiring artists.
OlaOluwa Marvelous AYOKUNMI & Julius Oluwayomi OLUWADAMILARE
THE PLACE OF MUSIC IN THE ENVIRONMENTAL & SOCIO-ECONOMIC SUSTAINABILITY OF NIGERIA
The Sustainable Development Goals of the United Nations Educational, Scientific and Cultural Organization encompass a variety of crucial aspects, including but not limited to eradicating poverty, promoting decent work and economic growth, creating sustainable cities and communities, and establishing peace, justice, and strong institutions. These goals underscore the importance of utilizing natural and human resources in a way that enhances human well-being and productivity, forming the foundation of sustainable development. In line with this philosophy, it is essential to adopt a multidisciplinary approach, as suggested by this study. Therefore, this research delves into the significant role that music plays in advancing Sustainable Development in Nigeria, focusing on various music genres selected for analysis. Through an ethnographic method and ethnomusicological examination of these songs, it becomes evident that music in Nigeria serves as a vital medium for social expression and development, seamlessly blending traditional and contemporary elements. Moreover, music acts as a powerful tool for raising awareness on critical issues like poverty and climate change, motivating community engagement and action. The music industry not only creates employment opportunities but also contributes to economic growth, particularly through tourism. Furthermore, by preserving cultural heritage and passing down traditions to future generations, music plays a pivotal role in ensuring a sustainable future for Nigeria. Recognizing and understanding these diverse roles that music assumes in addressing global challenges will significantly contribute to the achievement of Sustainable Development in Nigeria through multidisciplinary strategies that encompass music as a key component.
Julius Oluwayomi OLUWADAMILARE (Ph.D) & Olaoluwa Marvelous AYOKUNMI
AN ASSESSMENT OF THE WORSHIP OF AYELALA (GODDESS OF JUSTICE) DEITY AND THE ILAJE KINGDOM OF ONDO STATE
The worship of deities has always been a major religious preoccupation among the Ilaje kingdom of Ondo State. Among these deities is Ayelala, a water goddess, who is not only worshiped with pomp and pageantry but also highly revered and respected for its judicial powers. As a deity of retribution and justice, Ayelala is believed to possess great powers which she uses against varying forms of social vices, such as armed robbery, sexual offences, and witchcraft, etc. Ayelala is reputed for seeking vengeance when the offender has forgotten his or her crime, and strikes her victims by inflicting on them bodily swelling and in few cases, dryness. The study employed the qualitative research design, to provide the general background of the worship of Ayelala (goddess of justice) among the people of Ilaje kingdom. Data were gathered from primary and secondary sources. The primary sources involved the use of unstructured oral interviews with resource persons. The secondary sources involved the use of text books, scholarly journals, specialized magazines and the internet. The data were analysed using the historical and expository tools. The historical method was used to evaluate the historical evolution of Ayelala among the Ilaje. The expository method presented a vivid portrayal of the Ayelala Deity in Ilaje kingdom. The study found out that the worship of Ayelala is widespread in Ilaje kingdom despite the mysterious myths surrounding the origins of the deity. The studyestablished that Ayelala’s role as an arbiter of justice underscores the importance of civic values held within communities where the deity is worshipped – which are also values that undergird intergroup relations in Ilaje and other African communities.
Prof. Sarwuan Daniel Shishima & Bukola Abosede Folaranmi
MUSICAL PRACTICES AMONGST THE PEOPLE OF EDEM-ANI OGWUGWU COMMUNITY IN NSUKKA LOCAL GOVERNMENT AREA IN ENUGU STATE: A HISTORICAL NARRATIVE
Musical practices in African society is said to be an inherent phenomenon in every African individual. Music is one of the core values in our society starting from the old. Edem community is not left out from the history. Edem is one of the communities in Nsukka local government area in Enugu state. It is an igbo community with a population of about 309,633 based on the national population census in 2006 (national population census conducted in 2006). Edem is divided into 4 zones/ communities which include, “Akpa-edem”, “Ozi-edem” Amenu-Edem and “Edem-Ani Ogwugwu. In each of these communities there are many villages and groups of kindred’s that make up these zones. For instance, Edem-Ani Ogwugwu is categorized or subdivided into communities which include, Umuchagwo, Umuchoke, Ogbodo-umuchagwo, Uwani-umuchoke, Ozara, Amaesumesu, Isu/Odojo, Nkofi, Owere-ugwu, Owere-agbo and Ubogidi. “Ozi-edem” is made up of Umuoko, Ukpara, Amankpume, Amaukpa, Amaukwa, Ikwe Ezike Amabunegu, Umueyi, Amauwena, Umuoji, and Obineguh. Amenu-Edem also known as Ugwunagbo-edem is made up of, Amenu, Amogu, Isu, and Odojo, finally “Akpa-edem” is made up of Owa-edem, Uwenu-obeke, Uwani-obeke, Dimunazu, Amankwa, Igoro-ugwu, Igoro-agbo, Amadimago, Isamani, Ama-oba, Okiti, Amadimba and Nkawushi. Ezema, (2018) and Nnanyelugo, (2024:23).
Nnanyelugo, Emelda Chinasa & Rev. Fr. Prof. Emmanuel Umezinwa
The paper is a discourse on Dance as therapy in African Music. In African society, Music is not only performed or appreciated as a creative artwork. The roles, functions, and features of music give it meaning in Africa. Recently, scholars and researchers in African Music have been making references to the therapeutic function of African Music. Music and Dance are interwoven in Africa. Eurhythmics is a system of rhythmical physical movements to music used to teach musical understanding or for therapeutic purposes. This qualitative research is carried out through descriptive approach with a combination of several methods to source for its data, which include participant observation, and bibliographic methods. The paper concludes that, African Dance as an exercise describes the psychology and physiology having to do with movement or sensation, especially within the body which is stimulated by music rhythm. Dance in Africa is an experience that requires the combination of skills, energy, sensibility, emotion and the materialization of thought and musical/rhythmic idea. Thus, the tool of Music and Dance should be well utilized to the benefit of man and well-being.
ODU IN IGBO MUSICOLOGY: AN INTERVIEW WITH DR CHARLES NNEKE
In Igbo culture, Odu (elephant tusk) is a highly revered object, symbolizing prestige, wealth, and tradition. It serves both ornamental, musical and extra musical purposes, playing a significant role in Igbo social and cultural life. This article through qualitative research, uses observation to explore the significance of Odu in Igbo musicology, its construction, varieties, and its role in contemporary Igbo society. The study is further enriched by an interview with Dr. Charles Nneke, an expert on Igbo traditional music, a renowned Odu player, resulting to a better insight as to the construction, playing and the future of this traditional instrument. It was discovered that this traditional instrument needs an alternative source of supply other than the ones got from animals. The need to train more odu players and get Igbo youths to appreciate this distinguishing instrument cannot be over emphasized.
Prof. Alvan-Ikoku Nwamara & Dieudonné Kodichukwu Ezeanyim
AN APPRAISAL OF YORUBA SPEECH MODE FOR COMPOSING/PERFORMING YORUBA GOSPEL CHORUSES
An inherent attribute of Yoruba traditional music resides in tonal inflection which simulates the speech mode. To an alarming degree, composition and performance of Yoruba gospel music in post modernism, choruses inclusive are at variance with such a stance. It is the intention of this study to examine the appropriation of Yoruba speech mode within the context of the contemporary western mode for composing/performing Yoruba gospel choruses and the probable implications of such attempt. Hinged on descriptive methodology, this study employed textual functionality, a theory postulated by Blacking (1973), stressing functional effectiveness and textual intelligibility for composing and performing African music. In addition to oral interviews and song collection, this study drew insights from relevant scholarly works. Deduction from the study unfolded concept/object misrepresentations with the adoption of western diatonic scale for composing Yoruba tonal language, needs for textual modification as well as phrasal repetition of songs to engender alignment with Yoruba speech mode. Furthermore, the study showcased embedded merits of speech mode, spanning textual clarity/intelligibility, message intensification, inculcation of rectitude/societal ethics and cultural uniqueness and sustainability. Lastly, this study elicited defects that plague speech mode adaptation including monotony of textual/phrasal repetition, listening boredom and poor patronage, essentially by the youth audience. The study concluded that notwithstanding the credibility adduced to speech mode in the light of textual functionality, it becomes expedient to device an ambience in which it could be synergized with the western mode with a view to expound its acceptability, and hence, audience scope.
NARRATIVITY THROUGH LIGHTING EFFECTS IN NOLLYWOOD FILM: A CRITICAL READING OF SELECTED NOLLYWOOD NARRATIVES
This paper delves into the intricate relationship between lighting effects and narrativity in cinematic films, employing a semiotic theoretical framework. Semiotics, the study of signs and symbols, provides a valuable lens through which to analyze how lighting influences the construction of narrative meaning within films. By examining the signifying properties of light, including its intensity, colour, direction, and contrast, this study seeks to elucidate how filmmakers use lighting techniques to convey narrative information, evoke emotions, and shape audience interpretation. Through a close analysis of select films, this paper highlights the nuanced ways in which lighting serves as a semiotic tool, contributing to the overall narrative structure and cinematic experience. Furthermore, this exploration underscores the importance of understanding lighting as more than just a technical aspect of filmmaking but as a fundamental component of storytelling and visual communication.
Ajiwe, Uchechukwu Chimezie Ph.D & Iloma, Nyenwemaduka Richard Ph.D
‘The theory of maximization of music’ is a novel theory promulgated by the author in 2024 out of the quest for the sustenance of music in schools, institutions, the musical arts industry, and the society. The theory posits that: Every opportunity for music, in music, and that regards music lends itself to the maximization of the Art. ‘Opportunity for music’ here refers to any window that presents itself for the display of music through performance, staging, media, advertising, movie, carnivals, etc. ‘Opportunities in music’ abound in music teaching, music directing, choreography, composing, music production, music scholarship and research, etc. ‘Opportunities that relate to music’ are such vistas that may not be directly connected to music but have the tendency to relate to music such as event planning and management, educational boards, policy bodies, professional bodies, conferences, etc. The three focal points of the theory appear to interweave, however, the exploitation of vistas of opportunities for the maximization of music remains the thrust of the theory. The significance of the theory awakens and enlightens everyone in the field of music, the music teacher/lecturer, composer, producers and promoters to the responsibility of sustaining the art regardless of bundles of existential challenges in the postmodern era. The scope of the theory shall be limited to the field of music education in the context of the present paper even though it is extendable to other facets of musicology and other fields of human endeavor.
This paper will discuss the importance of music as a subject of study in Nigerian schools, both primary and secondary. It will highlight the historical background on music education formally and informally taking into cognizance how music should be taught in order to make the public and music learners appreciate music for its sake, instead of accepting it only as a medium of entertainment and instrument of studying other subjects in schools. Music education has been in existence right from the origin of music itself. Communities and societies have relied on music as an instrument of instruction, knowledge, information and entertainment. Music has also served its purpose as a form of worship for religious purposes and other forms. Children have learnt a lot through music and this system is still on today. The study of music as a subject today has declined because the importance as a subject of study has been overlooked and even viewed as just a subject purely for entertainment yet music still plays its roles in various forms and areas beyond what the society sees it. Literatures related to the subject of study will serve as data instrument for this study. Questionnaires will also be used to provide necessary information to enhance this study as well.
THE DILEMMA OF DIGITAL MUSIC RECORDING IN NIGERIA – A CRITICAL REVIEW OF THE CHALLENGES
The advent of digital music recording has reformed the music industry worldwide, offering unparalleled opportunities for artists to produce and distribute their work. However, in Nigeria, the benefits of digital music recording are hindered by myriad of challenges. This review critically examines the major dilemma faced in Nigeria’s digital music recording landscape, including issues of unemployment, commercial studios collapse, lethargy in music practice, lack of technical experts, and poor production processes. Additionally, the paper addresses the challenges in monetizing digital music due to a limited formal market structure. By exploring the complex interplay between technological, economic, cultural and regulatory factors. This study aims to identify the key obstacles and potential solutions for stakeholders including artists, producers, policymakers, and industry experts. This study employed a phenomenological approach in collecting and presenting a comprehensive understanding of the challenges facing digital music recording in Nigeria. This study provides valuable insights into the complexities surrounding digital music recording in Nigeria, contributing to the ongoing discourse on the future of the music industry in Nigeria. It highlights the need for enhanced industry training and more accessible resources to ensure the sustainability and growth of digital music recording in Nigeria.
Stella N. Nwobu, PhD & Jude T. Orakwe, PhD
ART ACTIVISM AND POLICE BRUTALITY IN NIGERIA: LEMI GARIOGWU’S ARTISTIC PORTRAYAL OF FELA ANIKULAPO KUTI’S ALBUM JACKET
Brutality has been a conspicuous menace for decades among the officers of the police force in Nigeria. Several measures have been introduced to criticize disrespect for human values, oppression, apathy, pain, suffering, callousness, atrocities, political subjugation, unbearable government agenda, and infringement on the fundamental human rights of the people. However, this excesses still persists amidst the law enforcement officers. This study focuses on the illustrative Portrayal of Fela’s music philosophy by Lemi Ghariogwu through the eye lenses of art activism, and police brutality in Nigeria. Selected album jacket illustrations by Lemi Ghariokwu that resonate with Fela Anikulapo Kuti’s lyrics form the concern of this study. The study hinges on deconstructionist theory in engaging polysemous visual representations to interrogate socio-political and economic impetus in Nigeria. Visual elements are engaged in this study as a form of disengagement from other stereotyped artistic genres for the campaign against police brutality. Art activism was engaged as metaphoric, iconic, or symbolic constructs within a socio-political context for political communication. The purposive sampling technique was employed in the selection of the visual imagery analyzed, with the criteria for selection being situated in the context of the socio-political themes. The paper concludes that economic and socio-political oppression in Nigeria as portrayed through the engagement with album jacket of Fela’s songs needs urgent attention. There is a need for a total reformation of the police structure and service to ensure a better policing system in Nigeria.
Oluwasegun Olawale Quadri (Ph.D) & Oyenike Oluwayemisi Eseagwu (Ph.D)
THE ÒSÀRÁ ENIGMA: AN IN-DEPTH ANALYSIS OF MUSICAL STRUCTURE OF ILE-IFE’S IMMATERIAL HERITAGE
Òsàrà music, a fundamental cultural heritage of Ile-Ife's cultural legacy, remains insufficiently studied. This study analyses the musical composition of Òsàrà festival music, focusing on its rhythmic patterns, melodic contours, and harmonic structures. This study utilises a mixed-methods approach that combines ethnographic fieldwork and audio recordings, employing the Musical Phrase Structure theory proposed by Lerdahl and Jackendoff in 1983 to clarify the intricate relationships among the musical elements of Òsàrà. The results indicated that Òsàrà music incorporates intricate polyrhythms, comprising 3-4 simultaneous rhythmic patterns. Melodies generally adhere to a pentatonic, hexatonic, or tritonic scale. Harmonic movement is frequently governed by rhythmic patterns. Òsàrà music emphasises Yoruba traditional values, including community and spirituality, with lyrics frequently referencing mythological figures and ancestor veneration. Òsàrà Music functions as a medium for cultural transmission and identity formation. The study suggests that Òsàrà music demonstrates a unique blend of African and African diasporic musical influences. Rhythmic complexity and melodic ornamentation are essential characteristics of Òsàrà music. The musical composition embodies Yoruba cultural principles and mythological narratives. This research aids in the documenting and preservation of Òsàrà music, while the study offers a foundation for evaluating other traditional Yoruba musical genres.
FUTURE TRENDS: THE DEVELOPMENT OF ICT-BASED MUSIC STUDIES AND THE PROSPECTIVE IMPENDING ADVANCEMENTS IN MUSIC EDUCATION IN PLATEAU STATE
This study examines music lecturers' and students' attitudes toward Information and Communication Technology (ICT) in music teaching and learning within Plateau State. It investigates the availability and utilization of ICT music resources in selected institutions. Five research questions and two null hypotheses guided the study. A descriptive survey method was employed, involving 230 randomly sampled lecturers and students. Data collection utilized structured questionnaires and checklists, analyzed using mean, standard deviation, percentage, and t-tests. The results reveal that both lecturers and students exhibit positive attitudes toward ICT. However, ICT music resources are derisory and demand urgent redress from appropriate authorities and to sustain these positive attitudes, the study suggests that urgent redress from authorities is needed for the effective provision of additional ICT music facilities in the region.
Dr. Helen Johnson Egemba; Dr. Samuel Yohanna Davou & Panchipon Kurshep
THE PROSPECTS AND CHALLENGES OF BICULTURAL AND BIMUSICAL ELEMENTS IN NIGERIA ART MUSIC
This publication explores the prospects and challenges of integrating bicultural and bimusical elements into Nigerian art music. It examines how the rich cultural diversity of Nigeria, with its plethora of ethnic groups and musical traditions can be harmonized within the contemporary art music scene. The article is centered on using music as a communication tool, applying fusion of text, instruments and rhythmic pattern that identified ethnic groups and their musical heritage. Many Nigerian composers have strived to pen down a composition that depicts a bicultural heritage from different ethnic groups within the country in their compositions. Often times such composition is seen during festival of music and cultural heritage. This form of composition is used to express unity in cultural heritage, such as during Nigeria Independence Day celebration. Music of bicultural element is fondly used to identify ethnics and cultural music backgrounds. However, language of the people, their instruments, dance and rhythm are the primary tools for cultural music classification. The study aims to identify the benefits and obstacles associated with this fusion and propose strategies for effective integration to enhance the global appeal of Nigeria art music.
KARAWUSA, Okechukwu Nonye & Rev. Sr. C. M. ACHIKEH (PhD)
HARMONISING WORSHIP: THE ROLE OF CHURCH MUSIC ADMINISTRATION IN PLANNING CONGREGATIONAL HYMN SINGING EVENTS IN LOCAL BAPTIST CHURCHES
The study examines the role of church music administration in planning and organising congregational hymn-singing events in local Baptist churches, aiming to harmonise worship and foster spiritual growth. This research explores how effective music administration contributes to meaningful and engaging worship experiences. It addresses key research problems, including the challenges of managing hymn-singing events, balancing theological integrity with cultural relevance, and encouraging active participation in congregational worship. The scope of the study focuses on Baptist worship traditions and practices within local church contexts. The research adopts a qualitative methodology, employing primary data collection methods such as bibliographic reviews, oral interviews, and participant observation by the author, a practicing music minister. Secondary sources, including books, journals, and online resources, complement the data. The theoretical frameworks of the study hinged on functionality or role theory and the theory of transformative musicology, which Adedeji advanced. Findings reveal that successful hymn-singing events depend on strategic planning, theological understanding, and the ability to address logistical challenges. Recommendations include enhancing training for church music administrators, fostering collaboration between clergy and music teams, and adopting innovative approaches to enrich congregational hymn singing. The study underscores the interplay between administration, worship culture, and congregational engagement, advocating for robust music administration practices to harmonise worship and elevate the spiritual experiences of congregants.
SACRED ADE-ILEKE ISENBAYE-NLA ONIRORO: ANALYSIS OF ONA CREATIVITY TO EMBELLISH YORUBA HISTORY, PHILOSOPHY AND SYMBOLS
Ade-ileke isenbaye-nla oniroro (big ancient conical beaded crown with veil) is a product of Ona creativity. It remains an important and valued artistic object designed for the Yoruba Oba (king), the royal palace and the community. It is a sacred object of kingship from the ancient time till date. Unfortunately, the value accorded ade-ileke (beaded crown) among contemporary Yoruba people and artists is gradually declining as a result of assimilated foreign artistic concepts and influences. However, the contemporary Ona artists who formed Onaism as a movement give high recognition to ade-ileke isenbaye-nla oniroro, not only as a product of informal training but as an important object that bears meaningful images, signs and symbols embodying Yoruba history, philosophy, culture and world view. This paper in analysis engages the Theory of Iconology, popularised by Panofsky in 1932 which provides meaning to icons at three levels of meaning. It identifies ade-ileke isenbaye-nla oniroro as a product of Ona. It further projects the importance of ileke (beads) within the Yoruba world view as well as identifies and discusses some of the iconic representations on ade-ileke isenbaye-nla oniroro of Omu-Aran, Aran-Orin and Arandun; the three historically connected towns located in Irepodun Local Government Area of Kwara State to project ade-ileke as an art object that records Yoruba history, philosophy and world view. It recommends that beadmaking be included in the curriculum of visual arts, youths be encouraged to participate in cultural activities as well as recognise and respect ade-ileke a living heritage of the Yoruba royal institution,
Opadosu James Omoniyi; Akande Olasupo Abiodun Ph.D & Adenle John Oyewole Ph.D
Birdsongs have been a subject of fascination and study among various cultures around the world, and the Yoruba people of Nigeria are no exception. In Yoruba culture, birdsongs are believed to be more than just pleasing sounds; they are seen as messages from the spirit world (Adeoye, 2017). According to Yoruba belief, different species of birds are associated with specific deities and spiritual forces, and these bird songs carry important messages that can be interpreted by those who understand them (Omojola, 2006). This study examines the symbolic meaning of some selected birds in Yoruba land, exploring their functionality meaning in Yoruba culture. The study draws on eco-musicology and semiosis theories. Birdsongs of Yoruba popular musicians from their debut albums were analysed, and data was gathered through interviews with music enthusiasts and indigenous cultural practitioners. The study found in-depth identity meanings, such as the association of the "igunugu" bird with the deity of wisdom and the "adaba" bird as a symbol of fertility, in the music of the birds in Yoruba land. These findings contribute to the pool of knowledge by uncovering the symbolic and identity significance of birdsongs in Yoruba land. This study recommends that these symbolic meanings should be incorporated into school curricula and Yoruba folklore, mythology, and oral traditions to preserve Yoruba cultural heritage and values.
CLOUT CHASING, NIGERIAN POPULAR MUSICIANS AND THE SOCIETY
This is an analysis of the relationship between Nigerian musicians and society. The study delves into the concept of "clout chasing," where artists seek social prestige and acknowledgment through controversial actions and conduct. The effects of this phenomenon are explored in the context of Nigeria's popular music industry, where artists often resort to sensationalism to gain popularity. By raising important questions about the role of popular musicians in the shaping of cultural norms and values as well as their responsibility to their audiences, this research effectually highlights the impact of clout chasing on both musicians and society as a whole. The researchers’ insights are supported by examples from the history of the Nigerian music industry. Valuable insights are offered into the complex dynamics between music artists and the society in Nigeria's vibrant music scene. This paper therefore highlights the negative effects of clout chasing on the Nigerian popular musicians and the society. Using the survey research design, data was gathered through observations literatures and internet. The significance of this paper is to provide justifiable guidelines to every popular musician that will aid them to embrace ingenuity in carrying out their craft and pushing their brands. This research recommends a periodical re-orientation for Nigerian popular musicians’ to improve their artistry. The study encourages readers to reflect on the influence of popular culture on social attitudes and behaviours.
NMADU, Florence Nkechi & NWOKOLO, Timothy Paul Udoka
INVESTIGATING THE REPRESENTATION OF WOMEN THROUGH YORUBA MUSIC: A CASE OF ODOLAYE AREMU AND LAGBAJA
The place of women in various societies has remained a controversial social discourse. On the global scene, women have continued to renounce the hegemonic position of male figure over their female counterpart, arguing that they remain objects of significance and not to be undermined, for their slated orthodox duties. Anchored on Walker's womanism theory, this paper examines how the philosophical ideologies about women in Yoruba society have changed, over time, as represented in the works of Odolaye Aremu and Lagbaja, two popular Yoruba artistes who belong to different eras. The study employs the purposive sampling technique to select Odolaye Aremu's Oro awon Obinrin and Lagbaja's Who-man for in-depth content analysis. Odolaye Aremu on one hand, employs a harsh and confrontational view in expressing his philosophy about women, focusing on the weakness and shortcomings of the female gender, without having any concerns about their feelings while addressing social ills associated to women. Lagbaja on the other hand, employs a different approach in his work concerning women. Contrary to the position of Odolaye Aremu, he projects the beauty of the female gender, by appreciating the relevance of women in areas such as multitasking, nurturing, managing and being the mother of all. The dissenting positions of the two artistes is representative of their various eras and the changing perspectives about the female gender in Yoruba society, which reveals that the perspectives of the Yoruba concerning women is changing and suggests more respect and power to the female gender.
DECODING THE TIME LINE OF NIGERIAN FOLK MUSIC THROUGH THE VIRAL GWOGWOGWO NGWO DANCE CHALLENGE
Time line is an indispensable part that constitutes the Africanness of a piece of African music or music inspired by African cultural practices. It has been described several times among the music scholars' circle. Yet, the description of the time line of African music has not reached a satiable extent. For this reason, this study is set to join the inquiry by decoding the time line of Nigerian folk music through the viral Gwogwogwo Ngwo Dance Challenge. This research is supported by Kwabena Nketia's description of the African music time line. Considering this, the analytical method was adopted for this study. Consequently, special attention was paid to the snippet of Nigerian folk music entitled Ka Esi Le Onye Isi Oche as performed by Gentleman Mike Ejeagha and His Trio. Data were gathered by watching and listening to TikTok, Instagram, Spotify, and YouTube performances. Relevant previous studies are also instrumental to this research. It was discovered that the dance steps are more closely linked to the time line than the beat-class set of Gwogwogwo Ngwo chant. Also, inference from the high beat cluster at the 10th beat-class set shows the dance's climax and an exhibition of comic disposition from the dancers' gestures. It was proposed that Nigerian folk music should be explored similarly as a tool for relief and global entertainment through social media.
AN EXPLORATION OF THE USE OF MUSIC TO ALLEVIATE STAKEHOLDER EXPERIENCE IN THE BANKING SECTOR
Bank stakeholders and bank employees face various stress challenges daily, thus necessitating mitigation of the negative impacts of these stress challenges on customer behavior, employee productivity, product awareness, and organizational growth for effective service delivery. Music has been extensively researched by scholars across multiple disciplines as an effective therapeutic tool to alleviate stress encountered by individuals in various professions and walks of life .The effects of music on the bank stakeholders and bank employees are not visible most time but, it can be apparently felt and seen through emotional and psychological reactions. Hence, the paper explored the effects of music in the banking sector by investigating its impacts on the bank customers, bank employees, bank stakeholders and bank products. It delved into the use of music in the banking sector and selected branches of the Skye Bank Plc. (Polaris) in Oyo state Nigeria were used as case study. The paper explored the use of music as stress relief for the bank employees and bank customers as well as a form of advertisement to mesmerize bank stakeholders to a new product. The paper employed both quantitative and qualitative design method in a descriptive approach to analyze its results. The paper gathered information from an archive and questionnaires were given to the participants (respondents). Results revealed the significant effects of music in the banking sector cannot be overemphasized, its impacts range from stress relief to advertisement among others.
AFROBEATS GENRE AND ITS ROLE IN REBRANDING NIGERIAN NATION
Global popularity of Afrobeats and its inextricable link to Nigerian roots has recently brought Nigerian nation into a new limelight of discourse. Afroabeats is a genre of music that deals with fusion of African traditional music, jazz, funk and rock music. It is the most accepted African musical culture in the global music scene and it is very popular in Nigeria. Afrobeats has begun to revive a sense of nationalism and Pan-Africanism within Nigeria and African continent. This trend has redefined Nigerians both at home and in the diaspora. Afrobeats musicians have succeeded in re-presenting Nigeria to the world in the past three decades. This study explores Nigerian Afrobeats musical genre and its role in rebranding Nigeria’s national image. Focus is on the ‘ambassadors’ of Afrobeats who are non-state actors in the constructivist framework of international relations yet, they have achieved considerable success in promoting Nigeria’s national image where state actors have failed to achieve success. Method used for data collection includes observation, media reports, internet sources, interview and review of related archival literature. Findings from the study indicate that through Afrobeats, Nigeria has regained her alliances, treaties and partnership with other nations of the world. Afrobeat musicians have made remarkable shift in boosting national image, perception and self esteem of Nigerians around the globe.
Tekena Jack & Rita Adaobi Sunday-Kanu, PhD
PHYNO'S MUSICAL FUSION: REVIVING OGENE MUSIC IN CONTEMPORARY POP
This study delved into Phyno's creative journey of infusing Ogene music into modern pop to breathe new life into this traditional Igbo music style. The central concern is the diminishing popularity of Ogene music in the contemporary music landscape, prompting worries about its cultural significance becoming overlooked or forgotten. To confront this challenge, we will examine Phyno's musical contributions alongside the deep cultural roots of Ogene music. By exploring how Phyno seamlessly weaves traditional Ogene flavours into contemporary pop tunes, we aimed to understand the impact of this blend on both preserving the genre and captivating a global audience. This study is not just about music; it is part of the bigger conversation on safeguarding culture through musical expressions, highlighting Phyno's pivotal role in uniting traditional and modern music realms. Ultimately, we hope this research sparks a passion in upcoming artists to embrace and rejuvenate traditional music forms, ensuring that our cultural heritage continues to thrive and resonate in the dynamic world of music.
Keke, Maria Trinitas Oluchi & Uzomah, Michael Chiedozie
THE PLACE OF ART MUSIC COMPOSITION IN THE MUSICAL COSMOS
This study, investigates the enduring significance of art music composition in the global musical landscape. It examines the interplay between compositional elements—melody, harmony, rhythm, structure, and instrumentation—and their impact on musical expression, emotional resonance, and cultural transcendence. The research addresses key problems such as the declining visibility of art music in popular culture, the challenges of maintaining innovation while respecting tradition, and the need for contextualizing art music within diverse global genres. Through a multidisciplinary methodology combining historical analysis, theoretical evaluation, and ethnomusicological perspectives, the study explores both Western and non-Western traditions. Historical masterpieces, such as those of Bach, Mozart, and Beethoven, are analyzed alongside contemporary works, including minimalist and popular compositions, to identify shared traits and distinct innovations. Findings reveal that art music composition remains basic in shaping musical traditions and inspiring contemporary genres. It serves as a medium for cultural expression, bridging traditional and modern paradigms. Elements such as melodic development, harmonic complexity, rhythmic innovation, structural coherence, and instrumental diversity are identified as critical to a composition's aesthetic and emotional impact. Moreover, the study underscores the adaptability of art music, illustrating its role as a universal phenomenon capable of transcending cultural and temporal boundaries. This research contributes to a deeper understanding of art music role in the broader world of music, highlighting its capacity to inspire, challenge, and elevate human creativity.
"PRESERVING THE YORUBA APALA MUSIC GENRE THROUGH CHORAL PLATFORMS ON THE INTERNET"
Apala music holds a special place in the cultural practices of the Yoruba people of Nigeria. Rooted in history and tradition, Apala music is timeless, with unique rhythms, music and lyrical stories. As the world goes digital, the question of how to preserve this precious heritage in cyberspace arises. Preserving the Yoruba Apala music genre in cyberspace is confronted with substantial challenges due to the lack of extensive digital recordings, limited online access, and the risk of misrepresentation due to the potential loss of heritage and history. This study prescribes the strategies to effectively maintain, protect, reproduce and sustain Apala music culture in cyberspace. This article highlights the concept of the Apala music genre of the Yoruba, describes the musical performance and the potential of choral platforms for preserving Apala music, discusses the challenges of preserving Apala music, and discusses strategies to protect this genre. The methodology for this study is qualitative, and data were elicited through observation, oral interviews, biography and other bibliographical evidence. The conceptual framework for this study is based on the concept of cultural hybridity and globalisation. The paper argues that choral platforms offer a promising way to preserve Apala music in the digital economy. However, the paper also acknowledges some challenges associated with using choral platforms. These challenges include developing new digital tools for preserving Apala music, training choral conductors to use choral platforms, and raising awareness of Apala music among younger generations. The paper concludes by proposing some ways choral platforms can be used to preserve Apala music. The study recommends, among others, a collaborative effort between choral conductors, musicians, and scholars.