AE-FUNAI Journal of Music and the Arts (AFUJMA) is published by the Department of Music, Alex Ekwueme Federal University Ndufu-Alike (AE-FUNAI), Ebonyi State, Nigeria. AFUJMA is a peer-reviewed academic journal dedicated to advancing scholarship in music, performing arts, and related disciplines. The journal provides a platform for researchers, educators, and practitioners to explore diverse perspectives in African and global artistic traditions, cultural expressions, and interdisciplinary approaches to the arts. AFUJMA welcomes original research, critical essays, and creative works that contribute to the evolving discourse in music and the arts.
HARNESSING THE AFRO-INDIGENOUS MUSIC TRAINING PATTERN TOWARDS THE BREEDING OF CONTEMPORARY MUSICAL SOCIETY: BEROM PEOPLE OF PLATEAU STATE IN PERSPECTIVE
Every community has a unique method for transferring its customs, traditions, and way of life to the next generation, which also serves as a guarantee to its cultural preservation and prevents the culture from going into extinction. More so, every illness has a remedy, and every culture has its uniqueness regarding its custorticle and beliefs. This aims to critically highlight the traditional training methods employed by Africans, with a focus on the Berom people of Plateau State, Nigeria, to acquire knowledge, skills, and values before, during, and after the continent's colonisation thus, examining the historical methods used in the training of musicians by providing a clear understanding of how education in Africa was done. Interestingly, evidence suggests that musicians who received their training through traditional apprenticeship methods in Nigeria continue to earn more than those who received formal training. To comprehensively understand musicians' contributions to human development, this study explores how African musicians are traditionally trained, with a particular emphasis on both informal and formal artists. Using a mixed research approach that incorporates data from public social domains and in-person interviews, the researcher seeks to illuminate the enduring methods used by Africans in training musicians and what sustains their relevance despite colonial attempts to limit their effectiveness.
Dr. Samuel Yohanna Davou; Dr. Helen Johnson Egemba; Kemeweringha, Tobi Ebiakpo
Descriptive Analysis of Structure and Tradition of Bírípo Musical Instrument among the IIkale and Ilajr People of Ondo State
This paper is focused on the descriptive analysis of structure and tradition of Bírípo musical instrument among the Ìkále and Ìlàje people of Ondo State. The dearth of a systematic study on the musical instruments used in Bírípo music and the lack of documentation and research which has threatened the sustenance and preservation of this traditional musical art has necessitated this study. This paper employed an ethnographic fieldwork approach which included participant observation, interviews, and surveys among Ìkále and Ìlàje musicians, instrument makers, and community members, in addition, the measurement, description, and photography of Bírípo musical instruments were taken and analysed. The paper anchored on the material culture theory through analysing musical instruments as tangible representations of cultural values and identity. Findings reveals that Bírípo musical instrument have a strong affinity with the cultural practice of the Ìkále and Ìlàje people, which was shown in the family and daily activities of the people. In addition, the paper highlighted ways whereby Bírípo musical instrument can be preserved adopting but conventional and the new approaches for sustenance and cultural preservation.
The Contextual Sources of Laz Ekwueme’s Music Compositions: Enhancing Creative Expressions
Every musical work is reflective of the composer’s uniqueness or imitation of another’s. As a result, composers’ individuality reflects in the nature and quality of their compositions. This paper focuses on the contextual sources of the music compositions of Laz Ekwueme, a foremost Nigerian art music composer and notable scholar. It categorizes the composer’s works and examines how contextual sources shape and enhance his creative expressions. These sources contribute to his numerous and eclectic musical works. Anchor of the paper is on the theory of creative ethnomusicology. The study relies on in-depth interviews held with the composer, collection of his compositions, and relevant literature. It reveals Ekwueme’s contextual sources through, cultural influence of folklife during childhood and personal life experience of dreams or flashes. By listening to other composer’s works, exposure to different musical styles is achieved and explored. He even draws inspiration from a song title, tune or melody of another’s musical work. In addition is his desire for an African expression of a foreign musical piece heard, sometimes in his own language. Ekwueme’s religion, biblical stories and emotions such as Passion time are worthy of note. Environment, natural sceneries, atmospheric conditions, political occurrence such as the Nigerian civil war are inclusive of the contextual sources. Special requests made for specified compositions through relationships had with people, also influences his mode of inspiration. The study concludes that a composer’s alertness and attentiveness to diverse situations, play significant roles in activating and enhancing the nature and quality of their compositions.
AE-FUNAI JOURNAL OF MUSIC AND THE ARTS, VOLUME 2, 2025
DIGITAL REVOLUTION AND ANALYSIS OF TECHNOLOGICAL INNOVATION IN NIGERIA MUSIC INDUSTRY
Change is one thing that is constant nowadays. The changes that result from digital revolution are here to stay and the best way to find prosperity in Nigerian music industry is by looking to the future of technological innovation. Digital revolution and its resulting consequences on technological innovation in Nigeria music industry are the focus of this study. This explorative study is as much an exploration of evolution and revolution; the evolution of what music consumers value and a revolution of how an individual obtains music. The study demonstrates that digital revolution encompasses many facets of innovation and evolution for the Nigeria music industry. The technological innovation, which fueled the digital revolution, was heavily influenced by consumer’s value of music. Technological innovation empowered both consumers and artists at the expense of the record labels. The increased loss of record label control, coupled with the vast new opportunities provided by technology, streamlined the Nigeria music industry into revolution. The transformation that took place in music technology ranging from the phonograph to the CD, helped lay the groundwork for this revolution. The study affirmed that introduction of internet changed people’s lives and had an enormous impact in the music business. Internet allowed millions of users to obtain music digitally over the web and spawned numerous opportunities for artists to further promote and create their music. This study concluded that digital revolution has changed the business landscape within the Nigeria music industry, leaving it to seek out alternative business models to propel it into the future of a digitalized world.
Abiodun Olalere Akere; Cynthia EbunOluwa Akere; Adefowope Ramon Adeleke
Synergizing the 21st Century Digital skills in Art music composition based on African traditional music Idioms
The 21st century is an evolving era, characterized by revolutionary technological skills that influence various aspects of the arts, including music. This study explores the synergetic possibilities between 21st-century skills and indigenous musical idioms in the composition of African art music. The need for art music compositions that resonate with 21st-century listeners informs this study. By drawing from existing literature on indigenous musical creative skills, digital technological musical engagements, and other discourses on 21st-century musical sound creativity applications, this article presents data on these developments and their impact on art music composition through a comprehensive review of scholarly articles, case studies, and practical examples of music compositions that incorporate both traditional African and modern digital elements. The data is analyzed through the lens of creativity theory and current knowledge in the field of music composition. The study recommends deliberate collaborative engagements between art music composers and indigenous musical idioms, combined with evolving digital/technological skills; to create works that appeal to contemporary performers and audiences.
AN ASSESSMENT OF STUDENTS' PERCEPTION ON ADMISSION PROCESS INTO MUSIC TEACHERS EDUCATION PROGRAMME IN SELECTED COLLEGES OF EDUCATION IN SOUTH-WESTERN NIGERIA
Poor academic performance of music students in Nigeria’s colleges of education (COE) in recent years has been a concern for stakeholders. Efforts are made to find answers to this challenge by various researchers who discovered the connection between student’s academic performance in higher institution with the mode and entry qualifications through which they were selected for higher learning. Institutional interference on the admission process into music teachers’ education (MTE) programme in Colleges of Education (COE) in Nigeria has been perceived by students as a major cause of low academic performance among music students. The study adopts mixed methods research design. Structured questionnaire was used to gather relevant data. The population of the study were eight COEs in South-Western Nigeria offering Music. Purposive sampling technique was used to select a State and Federal COEs from the population of study. Primary data were sourced from 60 students of the selected institutions, while secondary data were sourced from related literature, journals, books, thesis, and periodicals. Statistical analytical tools adopted in analysing the data were simple percentile, Mean (x̄ ) and Standard deviation (SD). Based on the outcome of the findings, it was discovered that many candidates admitted into the department of music were not auditioned, students perceived their admission as institutional interference.
Towards re-introduction of Music as a subject in public secondary schools in Ibadan Metropolis: Music Evaluation in focus
This study explores the evaluation of students’ attitudes towards music education in Secondary schools in the Ibadan Metropolis. This study looks into affective domains of the learning to find out if secondary school students still have affection, value and have positive attitude towards music education. The population of the study is the public secondary school students in Ibadan Metropolis. The simple random technique was used to select the public secondary schools and public secondary school students as the respondents and attitude Likert scale items were used to evaluate the students’ attitudes towards music education in Public secondary schools in Ibadan Metropolis. The study found that Music as a subject isn’t no more on the table time of the majority of the public secondary schools in Ibadan Metropolis 75% (1875). The study also found out that Music as a subject has been merged into Cultural and Creative Art which is commonly taught by Cultural and creative Art teachers who have no professional certifications and training in Music. The study found that Public secondary school students have neither positive nor negative attitudes towards Music education since 80% (2000) Majority of them haven’t been teaching Music as a subject in their respective schools. It is therefore recommended that Music should be taught as a separate subject both in Junior and senior secondary schools. Ministry of Education and the Post Primary Teaching Service Commission should support the reintroduction of Music as a separate subject to help secondary school students learn more about their traditional folk songs and the moral training embedded in them.
TRADITIONAL JUDICIAL SYSTEM AS A PANACEA TOWARDS FIGHTING CORRUPTION AND OTHER RELATED CRIMES IN NIGERIA: THE IGBA MBEMBE IGBO DANCE DRAMA AS AN EXAMPLE
It is no longer news that corruption and other related crimes have eaten deep into the fabrics of all facets of Nigerian systems. From all indications, our nation is sick and requires a state of wellness. The data for the study was obtained using interview and participant observation. The study conducted, discloses that many Nigerian citizens have lost confidence in the Nigerian Police Force in terms of fighting corruption and other related criminal cases. The people interviewed by the researchers unveiled their minds that the Nigerian Police Force is not walking the talk. Some documented interviews on people’s views about the Police Force are nauseating. The study aims to enlighten the world at large, the Nigerian populace, particularly the Igbo on the need to revert to the Igbo traditional system of justice known as Igba mbembe where confirmed perpetrators were brought to book by open disgrace through music and dance drama. They were made to dance either half or fully naked to different types of music played by the members of the community where they belong, with demonstrations depicting the offence committed. The efficacy of music in transforming lives was also looked into because the Igba mbembe is accompanied by didactic music. The researchers are confident that by so doing, law and order will be restored and maintained in Nigeria and the society will once again experience the state of wellness as was the case in the olden days. The study is based on Skinner’s Operant Conditioning Theory.
Mabel Ugochi Okpara (PhD); Olusola Samuel Akintunde (PhD); Francisca Anuli Ugwu
EXAMINING THE IMPACT OF MUSIC EDUCATION ON POLITICAL AWARENESS AND CIVIC ENGAGEMENT IN DIVERSE SOCIO-ECONOMIC SETTINGS
Music plays a crucial role in the growth of human beings and society, as it has enhanced and continues to enhance society's life. As social beings, humans are fundamentally political animals, and both music and politics are social realities that combine to make humanity better. This paper examines the relevance of music in man's relationship with society's politics and how it is used to direct affairs and impact desired ideologies on citizens. Many authors believe music is the people's voice, reflecting the social realities that improve humanity. This study investigates the relationship between music education, political awareness, and civic engagement across diverse socioeconomic settings. The study also examines socio-political patterns, academic literature, and past events to highlight the role of music in fostering socio-political consciousness. And also focuses on how participation in music programs correlates with increased civic engagement and the role of socioeconomic factors in shaping these impacts. The paper advocates for a more vital link between music and politics for human development and empowerment, highlighting the benefits of music programs in diverse socioeconomic settings. The study contributes to the broader conversation on the intersections of arts education, societal values, and active citizenship.
THE CONTEMPORARY PERFORMANCE SETTING OF JUJU MUSIC IN YORUBA LAND
Yoruba music encompasses rich tradition of choral singing mostly in form of call and response patterns in their performance practices. This study explores the contemporary performance setting of Juju music in Yorubaland, studying the adaptation and the adopted traditional elements in modern contexts. Juju music as a genre of music is rooted in the cultural heritage of Yoruba people and had witnessed the transmission and infusion of new evolutions in performances style while retaining its identity. This has giving rise of Afro beat which was pioneered by Fela Kuti marching Yoruba idioms and its ostinato rhythms in conjunction with political ascertains, thereby producing some musical genres like Jazz and Funk. Using the descriptive and historical method of qualitative approach, this work examined the contemporary performance styles, content, audiences, factors influencing Juju music as one of the prominent popular musical style, the various exponents of this genre and the significance of Juju music in Yoruba etymology, with the conclusion that, though the music has witnessed the evolvement of new Juju music, globalization and cultural transformation, uprising of contemporary musicians using the Yoruba musical instruments with western instruments and have new genres like Afro beat Modern pop, hip-hop and R&B, yet, the genre still maintain its originality which are deeply rooted in African elements, and sustain its rich Yoruba traditions.
Global Music: A Cross-Cultural Exchange Fueled by Migration and Tourism
In the 21st century, globalization which in other word can be refer to as ‘transactional tune’ can be seen as an emerging world, which is now becoming a single place. One of the major key globalization carriers is ‘Music’. No doubt, Music has always been an integral part of every culture, a mirror through which their practices could be understood. This research explores the phenomenon of global music, a cross cross-cultural exchanged fuled by migration and tourism. It investigates the way in which migration and tourism contributes to the spread of music across cultures, leading to the creation of new musical forms and styles. The research uses a mix of qualitative and quantitate methods to understand the lived experiences of migrants and tourists, the cultural significance of music in different communities, and the impact of global music on local scenes. However, over the years, the advancement in communication and transportation technology for political, economic, social, and commercial reasons, among others, have done harm to predominant cultures and good to musical evolution in a process known as globalization. The later is the focus of this research.
Folorunso David Jayeola; Franscisca Anuli Ugwu
EXPLORING THE REFORMATIVE ROLE OF MUSIC IN CURBING CORRUPTION IN NIGERIA
Music is an integral part of life in any given society and as such has the ability and the power of molding the character of human beings. Its relevance in curbing social vices in the society cannot be overemphasized since being corrupt is more of behavioral pattern of life of individuals in the society. The issue of corruption is multifaceted and as such requires multidisciplinary approach in its suppression, control and eradication. Therefore, this paper examines the meaning, forms, causes and effects of corruption in the society and the reformative role of music in curbing corruption in the society. Recommendations are made on the role of music in curbing corrupt practices in the society.
PSYCHO-SONIC MUSIC AS A COBBLING TOOL USED IN THE JOS PEACE BUILDING PROCESS: THE “ZAMAN LAFIYA”
Music, a sustained sound that fluctuates between notes of different pitches, is often linked to mood. A certain song can make people feel happy, sad, energetic, or relaxed. Music may trigger unwanted memories, evoking upset or anger. This article analyses a popular folk song called “Zaman Lafiya” and its impact on people during crises in the Plateau State capital, Jos. The 2021 ethno-religious crisis is one of the continuous crises in Plateau State that has exacerbated the situation, making Jos a hub of violence and upheaval and hindering socio-economic development. The government's regular methods of conflict resolution, that is, the regular use of force and dialogue, have yielded tortoise-walk results as the state still witnesses crises. It is imperative to note that the crisis would require a multi-faceted solution, given that the use of force (soldiers and police) to achieve peace can only lead to a temporary and superficial solution. This therefore invites other means of dispute resolution to the table, one of which is music, which directly influences human psychosis. A crisis is first a mental, violent dispute; as such, it should be best dealt with mentally, and music is an effective means of achieving that. Relying on secondary sources of information, a qualitative research method with a bit of analysis is employed in the research. The research therefore argues that the therapeutic benefits of music in a peace-building process could be harnessed if consciously put into action.
CONTEMPLATING THE CONTEMPORARY NIGERIA IN SAM OJUKWU’S PROGNOSTIC COMPOSITION
Composers are very much concerned with the world of feelings. Personal life, personal friendship, the ups and downs of joy, happiness, and depression, play important roles in their musical output. The art of composition remains an approach to creative writing which brings out a synthesis of musical ideas, motifs and sonorities, to get at that which originally will not be reachable. However, many choral composers have not considered all of the foregoing as diverse media of speaking to the future, mood and emotions of the consumers of their compositional products. This paper attempts to dissect a textual analysis of Sam Ojukwu’s composition Chineke Doo: A Prayer for Nigeria to x-ray its relevance to the present-day Nigerian society. This is a right step in the way of mentorship for budding composers who desire to make a meaningful contribution to the creative industry—attitudinally, mentally, psychologically and otherwise. This study adopts Dan Agu’s (1999) criteria for identification and analysis of African songs in which texts examination form part of the process for consideration.
INFLUENCE OF ACTIVE COMMUNICATION IN CHORAL CONDUCTING
Communication in choral or instrumental music can be either responsive or expressive, occurring between a sender and a beneficiary as the sender (director) expresses musical information in the music sheet in the verbal, visual, or aural signs, and a recipient (choir) deciphers the information. Thus, interpretive communication is a two-advance procedure, depending on data being conveyed plainly and deciphered effectively. This investigation draws on momentum look into and applicable writing to talk about ways choral conductors can improve effective communication with particular reference to the ensemble's discernments. The study, which adopts Marrine's theory of gesture and musical communication, notes that gesture functions as non-verbal communication in music describes how conducting gestures are constructed from motion, and shows how gesture could be detected and reconstructed through sensing technology and software models. Primary data for this study was obtained through participant observation and interviews with ten (10) church-based conductors in Ogbomoso. An examination of practices used by selected conductors reveals that the conductors utilise a series of verbal and non-verbal nuances in conducting; this is herein referred to as "communicative conducting". Findings reveal that meaningful interpretation of African music depends on the director's ability to capture the mood of the music, shape of dynamics, colour of tone, drive the rhythm, express the form and most importantly, develop an inner sense to read into the mind of the composers. The interviewee's feedback uncovers that the conductor's signal, outward appearance and non-verbal communication are critical previously and amid an act. The conductor indicates melodic aims in nonverbal language through motion and these components. Based on the findings, the study recommends that the school of music should develop a curriculum that emphasises meaningful interpretations of African music in a performance. Scholars and researchers in the field of art of conducting should still explore studies in the proper application of score studies towards realising a meaningful insight into the composer's mind in a performance.
THE USE OF PERSONIFICATION IN SIR LUCKY OGHARISI’S MUSICAL SYNTAX
Urhobo music maestros of various Urhobo traditional music genres employ syntax in delivery messages to intended recipients. The paper explored Sir Lucky Ogharisi’s writing style by analyzing the musical syntax of Sir Lucky Ogharisi. Survey methodology was employed; the full album of Sir Lucky Ogharisi was used as the study case. Other secondary sources of information relating to the study were also cited. The study revealed that the use of personification as a figurative statement in prose writing and music texts writing was copiously expressed in the song-texts of Sir Lucky Ogharisi. Apart from the use of personification, the song-texts also addressed issues of inflation and economic melt-down affecting the Nigerian scene in 2017. The study suggests that Nigerian traditional musicians who are mouth-piece of their society should continue in their good work and that such good advices should not be neglected by the existing government in place for their messages if abided with would go a long way to forestalling and propel progress of a nation and therefore development. Furthermore, music scholars should study and document such rich messages for future generation.
OKAFOR, Enoh Justina; OKUNBOR, Dora Ifeanyi
MUSIC IN THE CHURCH: AN INDISPENSIBLE PART OF SUCCESS
Music plays prominent roles both in church and training of the young ones in the service of the Lord. It has many angles and facilitates the development and growth of many groups in the church. Music is a sine qua non for the Christian worship and is recommended for each group. This paper brings to limelight the indispensability roles play in the church and among the youths in the church as a whole.
QUASI-RELIGIOUS TRADITIONAL PERFORMANCE IN NIGERIAN POPULAR MUSIC GENRES: AN APPRAISAL OF LÁGBÁJÁ’S PERFORMANCE CONTEXT
This article explores the quasi-religious manifestations in Nigerian popular music genres, using the performance style of the renowned musician, Lágbájá as a case study. The paper highlights the fusion of religious ideologies and music in Nigerian culture by examining how Lágbájá’s music embodies elements of religious symbolism and ritualistic practices. By analyzing Lágbájá’s performance style, this article aims to shed light on the intersection of music, religion, and identity in contemporary Nigerian society where at different points individual musicians have rejected, reflected or helped to (re)constitute sacred practices via their music practice. The paper is divided into three parts. The first part describes the musical types which can be referred to as Nigerian contemporary popular music. The second part discusses the developmental dynamism in Nigerian pop music. In answering the following questions what is the role of religion in lives of artists within the popular music genre? How is religious metaphor reflected in popular music’s instrumentation and vocal arrangement? When does Fandom become a form of worship? The syncretism theory (Coplan, 1982) is used to examine Lágbájá’s profile and performance style in the areas of stage showmanship and instrumentation. The research methodologies used in collecting the needed data for this paper are the participant observation and interview methods. The paper observes that the strong point of Lágbájá’s performance style which although based on the Yorùbá traditional masked entertainers’ features, also has a cosmopolitan outlook. This is achieved in the way he deliberately combines the musical experience from his cultural background with the new developments in instruments and recording technology which has made the music widely accepted at the international level. The paper, therefore, concludes that Nigerian popular music genres are veritable channels for inter religious tolerance existence nationwide.
Music and Technology Amongst the Cattle Herders: A Communicative Tool or An Entertainment Forum?
Cattle rearing is an occupation which is found amongst the northerners and is recently, also found amongst some individuals of the Eastern region. It is an occupation geared towards making money and a means of livelihood for survival but its unguided nature of activities, has exposed the herders, the livestock and the environment to some serious health and economic hazards. This paper seeks to explore and highlight the communicative effects of music and technology on these cattle herders and what measures as well as merits it has on both the herders and their cattle rearing business and also the ameliorative measures to curb such issues. A historical method approach through the use of interviews in collection data used for the study, to enable a proper filtering of information necessary for the study and its proper establishments. This in essence is to articulate the ethical implication and dimensions provided through the use of music and advanced technology in communication amongst the cattle herders in the Eastern region and the effect it has to the environment.
Nnanyelugo, Emelda Chinasa; Onyeke, Blessing Uzoamaka
HISTORICLE OVERVIEW OF MUSIC IN IGBO LAND
History is key in determining the bearing of growth and development in any society, arts and all areas of human activities/events. In all the societies of the world, musical practices, like other forms of artistic expression represent an integral part of the total cultural fabric of the people. It is so interwoven with work, play, social ceremonial and religious activities that to isolate one phase from its role in the total life of the people is difficult. The development of any society, depends largely on the level of peace, love and unity among its habitants. Music has been identified as one of the instruments that brings about peace love and unity in any society. This paper explored the Igbo society in terms of its location in the nation’s geopolitical zones, traced their descendant origin and history of some ancient cities. The history of Igbo-land, functions and usefulness of their music in everyday life and culture of the people, constitute the focus of this paper. The study is a qualitative one carried out within the framework of exploring literature, oral interview and direct participant observation.
Role of Digital Technology in the Distribution of Gospel Music Contents in Southwest Nigeria
The advent of digitization in the Western world has brought about a revolution in trends and art of different professions of which music is not an exemption. Digitization improves trade, cultural transmission, and skill practices. This study, therefore, examines how digitization has enhanced gospel music distribution patterns in Nigeria, especially in this digital economy era. This study identifies the role of digital technologies in the consumption, process, methods and digital marketing of the Christian gospel music industry. By comparing old distribution methods with music produced using online digital distribution platforms, the study assesses the benefits and limitations of using digital technology in gospel music distribution. It was discovered that some factors that influence the choice, nature and use of digital technologies in the Christian music industry include fans preference, promotion, distribution, and consumption. The paper concludes that digital technology produces a remarkable effect on music distribution, especially in this digital economy era, such as reducing the cost of distributing and sharing information through online digital platforms and social media platforms. The paper suggests that musicians should utilize digital technology for positive advantage while striving to discourage the undermining of human talents and enhance the quality of general music content.
Abidemi Funmilayo OMOTAYO; Olaolu Emmanuel Adekola, PhD; Omobonike Deborah Ajayi
Enhancing music resource personnel in secondary schools: A study of selected secondary schools in Lagos State. Nigeria
This study delves into the role of music education resource personnel in the Epe and Eti-Osa regions of Lagos State, Nigeria. It explores the historical evolution of music education in Nigeria, elucidates the concept and characteristics of resource personnel in the educational system, and underscores their functional roles. The study administered a questionnaire comprising forty (40) items that is divided into four sections. The findings underscore the indispensable role of music resource personnel in music education, revealing a lack of support for music education in secondary schools from the government. These personnel facilitate students’ engagement, cultivate conducive learning environments, and enhance students' capacity for further education in music. They also sustain students’ interest, foster confidence, and promote practical learning. The study also revealed that music resource personnel should be considered in music education and that the government should find a way to encourage them when they apply to go further in their education. They should be admitted to the higher tertiary, even if they have two sittings or music-graded exams. These are the people that are needed for not meeting the requirements of their preferred courses. The study provides a conclusion for establishing more resource personnel for effective music education.
Adetunji Taiwo Adesoji; John Ajewole, Ph.D
THE ROLE OF WOMEN IN PROPAGATING IBIBIO MUSICAL CULTURE IN NIGERIA
This study employed historical and ethnographic approaches to examine the significant role played by Ibibio women to propagate and sustain their musical culture. The Ibibio people of Akwa Ibom State occupy the South-South coast of Nigeria. They have a rich musical heritage which are preserved and passed down through oral traditions to the younger ones. The aim of this paper is to highlight the key roles played by women in propagating the musical culture of Ibibio and the challenges posed in the modern society. The data was obtained from primary and secondary sources through fieldwork and related works from journals and textbooks. Qualitative design method was applied whereby the researcher observed, participated and documented some facts on the musical practices of the women. It is discovered that, women played key roles in various musical activities including storytelling, ceremonial activities like marriages, funeral events and some cultural practices like new yam festivals and puberty rites. They use songs that tell stories of the community’s values, history and beliefs to ensure the preservation of the musical heritage. Although, those musical activities helped women to pass on knowledge and cultural practices from one generation to the next, during field study, it is found out that some musical/cultural practices performed in the olden times are gradually disappearing in Ibibio community, due to modernization, globalization and social dynamics. While some musical activities are still lingering on, some are innovated, and others are in extinct. Such inadequacies are the challenges that hinder the proper transmission of cultural heritage of Ibibio people. The Akwa Ibom State Governor during yuletide period in December, 2023, organized a festival to revive indigenous cultural/musical arts the people, this is highly commendable. Such musical display should be considered yearly, while the recording and storing of musical works in archives are recommended.
Restructuring the music aspect of CCA teacher education curriculum in Nigeria: A study of the University of Nigeria, Nsukka
CCA, which stands for cultural and creative arts, is a relatively new educational innovation that has been implemented in the Nigerian school system. There has been a transition from unidirectional to trilateral concepts and fields of study. The three arts courses of music, drama, and fine arts are required to be consolidated under a single subject, therefore a teacher who teaches all three subjects may be referred to as a trinity or trilateral teachers. Tertiary institutions are now embracing the development of the Department of CCA for the purpose of educating trilateral instructors in an effort to put the CCA policy into effect. The implementation of trilateral teaching is still in its infancy at certain educational institutions; thus, it is confronted with a number of obstacles that have the potential to undermine the program's intended purpose. The findings of this study indicate that the music component of the CCA curriculum at the elementary, secondary, and university levels is defective. This is due to the fact that professional music educators are not engaged in the creation of the curriculum; rather, they are obliged to administer it. This article makes the case for the necessity of inviting expert music educators to assess the music component of the curriculum that is offered to undergraduate students at the CCA. Through the use of the survey and case study research methodologies, this study is of great importance to professional musicians, as well as those who plan and conduct educational programmes.
Samson Obialor Onu; Rev. Sr. Maria Trinitas Oluchi Keke
AE-FUNAI JOURNAL OF MUSIC AND THE ARTS (AFUJMA) VOLUME 1, 2024
Copyright (c) 2024 AE-FUNAI JOURNAL OF MUSIC AND THE ARTS
Analysis of Lagbaja’s music “200 million Mumu”: Corruption in Nigeria, Historical Perspective
Lagbaja is a popular Nigerian musician who wears mask during musical performances. In his musical composition titled ‘two hundred million Mumu’, Lagbaja paints a picture of corruption in every sector in Nigeria. ‘Mumu’is a Yoruba word that can be interpreted as fool. The Nigerian population has been estimated to be around 200 million. Lagbaja discloses that Nigerians (the whole population) have been fooled by corrupt leaders who promise heaven and earth to make life comfortable for them, but when they are elected into offices, the reverse is usually the case. Through the medium of music, he reveals that Nigerians have been fooled, Nigerian leaders and their followers are corrupt. He reveals that the concept of his usual costume of wearing mask during musical performances represents the faceless, voiceless and disenfranchised common man. His mask is a cultural representation of the common man’s sufferings and agonies. The paper is an analysis of ‘two hundred million mumu’, pari passu the forthcoming general election and it traces the history of past governance in relation to Nigerian corrupt practices. It concludes that the reproach of Nigeria can only be removed by electing the right people into offices, Nigerians need to go out en masse to vote. The paper analyzes and notates the song texts.
Olufunmilola Temitayo OLADIPO; Sunday Olufemi Akande
Discuss on Ibibio Folksongs in Contemporary Choral Music Composition
Folksongs in Ibibio land, like any other African Countries appeals to a group of people who share the same language, culture and traditions. This group of people have their own types and styles of music that is only special to them. Making music is part of their ways of life as it cuts across their traditional norms and believes. But then, folksongs sometimes change due to the various verbal processes of transmission, usually from one generation to another. This changes have brought about loss of interest to an average Ibibio thereby allowing nearby cultural influence. The paper intends to, as a way of revival, transcribe and translate some Ibibio folksongs in order to preserve Ibibio folksongs in Nigeria. The method employed was qualitative in nature as folksongs was collected verbally and through recording. At the end of this research, the researcher was able to translate and transliterate selected Ibibio folksongs, as a way of documentation for the purpose of contributing to the contemporary Ibibio musical work repertoire. It has also serve a guide to non-Ibibio composers who may be interested in composing in Ibibio language. It also made some recommendations.
African Musical Systems: Epistemic Foundations and Aesthetic Trajectories
The study addressed the lack of analytical models capable of comparing African musical systems without collapsing their epistemic distinctiveness, a gap that has limited theoretical coherence in African music scholarship. It examined this problem by developing an epistemic–aesthetic analytical framework and applying it to two contrasting case studies using a qualitative comparative design, drawing on two data sources and analysing two musical systems through six analytical categories. The analysis identified three core patterns: a shared relational macro-epistemology across systems, distinct authorship and transmission logics, and convergences in rhythmic and textural organisation despite divergent performance ecologies. It also found that four of the six analytical categories revealed cross-system continuities, while two highlighted structural divergence. These findings demonstrated that African musical systems can be compared rigorously without imposing external categories. The study’s significance lies in offering a theoretically grounded, methodologically replicable model that advances African music analysis and supports future research, pedagogy, and creative practice.
Albert O. U. Authority, PhD; Blessing Ebere Arihi
ARTISTS MANAGEMENT AND REVENUE SUSTAINABILITY IN AN EMERGING MUSIC MARKET: THE NIGERIAN EXPERIENCE
The Nigerian music industry is evolving rapidly, necessitating proficient managers to ensure artists earn sustainably. With digital platforms, live performances, brand partnerships, and intellectual property rights, artists now have diverse income streams. Despite these opportunities, many continue to face unstable incomes due to inadequate management, contract misunderstandings, and lack of financial planning. This study examines how effective artist management can foster sustainable income in Nigeria's music sector, utilizing Human Capital Theory and Resource-Based View (RBV). Effective managers act as strategic allies, leveraging their expertise, connections, and organizational abilities to enhance an artist's market value and financial stability. Key management tasks for sustainable earnings include brand development, contract negotiation, digital distribution strategies, royalty management, and tour organization. The study identifies significant challenges, such as informal management, weak copyright protection, and fragmented revenue systems. It concludes that professional artist management, underpinned by robust institutions and technology, is essential for establishing strong revenue models and enduring success in Nigeria's music market. Artists require skilled, knowledgeable, and well-connected managers to navigate the industry effectively. Addressing challenges like unprofessional management and weak copyright laws is crucial, necessitating improved institutions and systems for artists to thrive.